Gable and Lombard (1976)

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Mostly, the movie is committed to the value of a good time.

Amazing worth wacthing. So good. Biased but well made with many good points.

I saw this movie when I was a teenager when it first came out. I didn't know a lot about Gable or Lombard at the time, but I had seen some of their films since I was getting into old movies at the time. Since I only knew a little about them, I loved the movie.Now watching it in 2013, I still enjoyed it, but I agree with many other reviewers that too much fiction was added for the sake of entertainment. I have read biographies of Gable and the book the film was based on, but that was YEARS ago, so now even watching it last night, I had forgotten how much was fiction and how much was reality. For example, I suspected that the courtroom scene when Lombard was coming in to defend Gable for his paternity suit in the manner she did was totally fabricated, but other parts of the film made me wonder whether they could have been true.Someone in the board discussion posted a link where the screenwriter Barry Sandler discusses the film. I would like to post it here too since I enjoyed the insight I received from it. It helps to answer some of the many questions other reviewers have asked. It's: jeffcramer.blogspot.com and then click on the right where it lists names. Go to Barry Sandler. Regarding the music, even though the Michel Legrand love theme was used very often, I have always enjoyed it. It didn't bother me that it was a bit repetitive.Sure, it's a flawed film, but it's fun. If you can put aside the truth and watch it for the story, it's fine.I do think Brolin did a magnificent job in capturing Gable's essence and I think Clayburgh (who died before her time) was also good.

In the 70s after MGM compiled their wonderful THAT'S ENTERTAINMENT docos highlighting their musical treasure trove, other equally stocked companies decided not to do the same but actually make feature films about the same Hollywood history. So, instead of getting That's Fox or That's Paramount or Universal or Columbia (like the pubic actually wanted...and still do...) we were served new movies about old Hollywood. Enter GABLE AND LOMBARD (and WC Fields and Me, and Day Of The Locust...and Won Ton Ton The Dog That Saved Hollywood...and Hearts Of the West...and The Last Tycoon etc). Not as ominous as the proposed remake of Casablanca starring Tom Selleck and Jane Seymour, and nowhere near as 'bad' or 'wrong' as critics of the time cruelly labeled it, GABLE AND LOMBARD is a lush valentine to a fan mag style and memory of a period in time...rather like the production design of The Talented Mr Ripley is actually reflective of what Hollywood thought the jet set Mediterranean 50s were like as opposed to its fishing boat reality. As with At long Last Love, GABLE AND LOMBARD was slammed by crits and left to drown when without the bile and guffaw, there is a very entertaining biography with quite good casting and sensational visuals. Unfortunately for the producers, it was made when most everyone from the 30s were still alive and could spew on this film. Had it been made today, it would play 3000 multiplexes to a docile audience who struggle to know anything about 'the past' and be a $50million hit in week one by default of the TV ads and shopping center cinema location. I am sad not to see Jill Clayburg in films much past the 70s, like the superb Lee Grant she too can make an ordinary film watchable. In this case we have a great actress in a lavish (slavish) biography with sturdy James Brolin doing his damnedest not to be a dumb-Clark. As with WC Fields And Me this film deserves a better reception and a lush DVD transfer to be re discovered and appreciated. It's quite good.

Not quite excellent but Both James Brolin and Jill Clayburgh give creditable performances in one of Hollywood's great love stories. This film was re;eased the same year as "WC Fields and Me" about another Hollywood couple, Fields and Carlotta Monti. "Gable and Lombard" captures the Hollywood scene of the 1930's a bit better than the other film does, and the two leads are more believable then in the other film. More than showing the screen side of these two, "Gable and Lombard" explores the off screen life of the pair. Anyone looking for dirt will be greatly disappointed. The life of Clark Gable and Carol Lombard as shown in this film is anything but boring. Thus, the emotion is genuine when we learn as does Gable that nothing is forever."Gable and Lombard" gives us an honest look into the lives of two people who just happened to be movie stars.

GABLE AND LOMBARD is the kind of film that Hollywood history buffs hate, but fans of love stories just eat up. In other words, the truth is often distorted or ignored, but the emotional core is dead-on.I won't dwell on the many mistakes, but two are glaring, and must be pointed out. While Carole Lombard was a truly gifted actress (particularly in comedies), she was never Hollywood's #1 star (Lombard never achieved the status of Shearer, Garbo, Davis, or Crawford); L.B. Mayer's 'ordering' rising star Gable to 'make nice' with her, so she'd agree to do a picture at Metro with him is pure hokum. Actors had virtually no say in 'loan outs' in the 1930s; studios made all the decisions, based on maximizing their profits, and controlling their stars. A case in point was Gable's participation in Columbia's IT HAPPENED ONE NIGHT. Had he been given the opportunity, he'd have refused to go (he considered it a 'step backward', and it was, in fact, done as punishment against him, on MGM's part), and he would have never have won his only Academy Award! The other major gaffe is showing Gable as an AAF officer at the time of Lombard's death. He didn't enlist until after she'd died, partially because of the guilt he felt over his lack of involvement in the war effort, a cause Lombard had died supporting. While Brolin, as Gable, looks terrific in uniform, it just wasn't the truth.The effectiveness of a story like this relies heavily on the actors portraying the stars, and GABLE AND LOMBARD offers an interesting combination. Despite David Janssen's heavy lobbying for the role of Clark Gable (he always felt he was, actually, Gable's son, and he did, in fact, share many of the actor's physical and vocal qualities), the producers felt that, at 46, he was too old for the role, and went, instead, with 36-year-old James Brolin. Brolin, best-known for his stint in the hit TV series, 'Marcus Welby, M.D.' (and later, in another series, 'Hotel'), was an actor who had all the right 'tools', but never quite achieved film stardom. Nearly cast as Roger Moore's replacement as James Bond (despite a terrific screen test, producer Cubby Broccoli decided to stick with United Kingdom actors), Brolin, with a mustache, looked eerily like Gable during the actor's peak years, and could mimic the actor's vocal inflections and physical mannerisms very effectively. The end result of his mimicry, however, was a Gable who lacked depth, and his performance frequently seemed more a caricature than a portrayal.Jill Clayburgh, as Carole Lombard, faced a different problem. The 32-year-old actress (who would achieve stardom the following year, in SILVER STREAK), had a very well-written role, which was, in fact, quite close to the actress' actual personality (big-hearted yet at times acerbic, Lombard was known for her salty humor and frequent use of four-letter words, in stark contrast with her classic beauty). Clayburgh, however, with her broad features, looked nothing like Carole Lombard. (If you're unfamiliar with Lombard's 'look', her closest contemporary counterpart is Michelle Pfeiffer.) Clayburgh plays the role very well, but, knowing this, I could never 'suspend disbelief' enough to accept her as Lombard. However, as I said at the beginning, if you are hooked by true love stories (and aren't familiar with the 'real' Carole Lombard), GABLE AND LOMBARD has all the elements you can ask for; antagonism turning to attraction and then 'forbidden' passion, nearly insurmountable obstacles blocking happiness, eventual triumph, then a heartbreaking tragedy that would ultimately immortalize the lovers. Gable 'carried a torch' for his lost love until his death, in 1960, and GABLE AND LOMBARD gives ample evidence of her impact on his life.The film is a flawed, but moving testament to their love.