Cubussoli Very very predictable, including the post credit scene !!!

AniInterview Sorry, this movie sucks

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

Edgar Allan Pooh " . . . and we have so much," Greer Garson says of her English "Four Per Center" first husband, Errol Flynn (that 4% since whittled down 75% during the past 130 years due to the tendency of Rich Rats to cannibalize each other). Greer Garson, along with her loves Robert Young and Walter Pidgeon, belongs to that class of people who are willing to get intimate with One Per Centers in order to share some of their "Betters"' creature comforts. Perhaps there's a word besides "prostitutes" to describe their ilk, but THAT FORSYTE WOMAN makes clear that Greer is bartering her beauty for a loveless marriage to provide a gilded roof over her head, while architect Robert and painter Walter are plying trades of virtually no social value just because the Super Rich are willing to bestow highly inflated valuations upon their esoteric "products." Janet Leigh throws a monkey wrench into this Greer and Errol and Bob and Walt grouping, earning her PSYCHO fate a decade later. Errol, on the other hand, takes the Forsytes to heart--and wants no part of them in Real Life. Instead, he plunges deeper and deeper into his ROBIN HOOD alter ego, leading Castro's Lost Boys to victory over Cuba's One Per Cent Fat Cats. (Please see CUBAN REBEL GIRLS, his final film.) Then the American CIA whacks him, because it's run by the Forsytes.

st-shot Long before Masterpiece Theatre did two lengthy commendable treatments of John Galsworthy's The Forsyte Saga you have this Classic's Comics version which in many ways remains superior to the epic treatments. Sumptuously set and impeccably lensed by pantheon cinematographer Joseph Ruttenberger it captures period, manners and place richly with out over reaching or belaboring its point by moving back and forth between its four flawed characters advancing the storyline at a healthy pace.Soames Forsyte (Errol Flynn) wants nothing but the best for his money. He knows the price of everything and the value of nothing only the desire to possess. Smitten with the beautiful Vivian, (Greer Garson) an almost destitute piano teacher he pursues her with the same determination he does his business dealings refusing to take no for an answer. Though Vivian does not feel the same way she succumbs to the economic reality she is faced with and marries him with the hope something might grow out of it. It doesn't and she is little more than a trophy wife whose identity is slowly being extinguished not only by Soames but by the stuffy aristocratic family as well. Matters really begin to deteriorate when a young architect (Robert Young) dating her niece falls for her and she reciprocates.As a commentary on the stuffy dying ways of the Victorian era director Compton Bennett does a subtle job of eviscerating the aristocratic Forsytes with a benign touch, landing blows but not with a heavy hand. He is more concerned with his quartet of characters interactions. The venom he does use to mock the upper crust is saved for Soames with Errol Flynn giving a superb against type portrayal of ill humored callousness. It is arguably the finest dramatic role of his career given that in spite of his despicable ways he manages to garner sympathy in moments throughout the film. Robert Young is also very effective as the cocksure free spirited architect as he displays a confident arrogance and conviction in scenes with both Flynn and Garson.With the four lead roles nearly equally weighted Bennett does a commendable job assigning blame not only to all four characters but to a hypocritical society as well bent on keeping up appearances no matter what the cost. By keeping things measured instead of going flamboyant, displaying passion without crescendo The Forsythe Woman is one well packaged piece of storytelling.

JasparLamarCrabb Greer Garson in a role tailor made for...Bette Davis. She plays a Victorian era woman who marries into a wealthy family only to find out that her husband is a possessive psychopath. Garson finds solace in young architect Robert Young (not bad, but very much miscast), who happens to be the beloved of her niece (Janet Leigh, even more grotesquely miscast than Young). Topping it all off is Errol Flynn as Garson's crazy husband. Walter Pidgeon is in the mix too. It's all high gloss drama complete with ironic (and completely unrealistic) ending. It's like a Henry James novel if James had zero talent. This was among the last of the grand dame roles for Garson. Oddly, Flynn manages to give a very respectable performance. Directed by Compton Bennett.

JLRMovieReviews Greer Garson is That Forsyte Woman. The story begins with Greer in the nighttime fog of London rushing to a hospital to see someone. Errol Flynn and Walter Pidgeon are right behind her. Who is she visiting? Why is she in such a state of panic? By way of a flashback, we are shown just how they have all come to this point. Errol is captivated by Greer and means to have her. By wooing her and sending her flowers, he insists she is to be his, despite all her refusals to marry him. But, she doesn't love him. Through a series of events, she finally acquiesces. But, will she learn to love him? Will Errol be able to hang on to her? How does she get the label of That Forsyte Woman? Also starring Robert Young and Janet Leigh, this is yet another example of Hollywood at its best in storytelling. The viewer is caught up completely in her world. But, despite all the truths unearthed and developments of the plot, the biggest asset to this film are the acting chops of Garson, Pidgeon, and Flynn. Especially Errol Flynn. For someone who was typecast and primarily known as "Robin Hood" and "Don Juan" in his career, he is exceptional in this; I can't overemphasize just how great he is. This may just be one of his best performances, outside of "Gentleman Jim." Of course, the presence of Garson and Pidgeon together is a plus, but its Flynn's presence that carries the plot along. The characters of Robert Young and Janet Leigh are a little too cardboard or cookie-cutter to really stand out, but the viewer will leave this film, feeling very satisfied, with the story and Flynn and company's acting. And, this has a great last line. It may be far from perfect, with its loopholes or even seem a bit static or old-fashioned to some, but if you will only sit back and relax, the rewards are there for you to enjoy.