The disaster film is a genre thought of as being low brow but San Francisco is one of the few with class and sophistication. Like in James Cameron's Titanic, the viewer is left waiting in suspense for the impending disaster as the emotional stakes rise. When the night of the earthquake arrives the movie draws out the final moments before the disaster; I'm left thinking to myself "It's coming, it's coming". Also was it common back then to hold a ball at 5 in the morning?The earthquake itself ranks among one of cinema's greatest disaster sequences with the special effects and studio pyrotechnics making up for the less than stellar projection effects at the beginning of the film. The sequence shows the close up reactions of individuals just before they are killed by incoming debris as it lasts for the same amount of time which the actual earthquake itself did on Five- Thirteen A.M, April 18th, 1906 (or at least according to the movie, other sources state it occurred at 5:12 AM). This is followed by the harrowing sight of death and destruction as Blackie Norton (Clark Gable) walks through the ruins of San Francisco as he observes the horrifying, brutal aftermath in a remarkable section of the film. Even famous silent directors D.W. Griffith and Erich Von Stroheim worked on the film without credit which shouldn't come as a surprise as the plot of San Francisco would have been ripe for a grand silent melodrama.On my first viewing the ending of San Francisco felt far-fetched. I can see many people having an "Oh come on!" reaction but for me at least even on that first viewing it still worked on an emotional level. However after contemplating about the ending I have come around to accept the idea that a person, even a non believer may turn to religion after experiencing something as horrendous as a natural disaster which leaves a trail of death and destruction. Although considering how religious the entire movie is I should have seen it coming not to mention the ending can be justified when looking at the deeper religious parallels within the film. During the movie Mary Blake (Jeanette MacDonald) performs the opera Faust on stage as we are shown recreations of various portions of the opera; throughout San Francisco there are parallels to the story of Faust. The clash between the moral and immoral, Mary's tendency to refuse Blackie's advances, the fire seen at the beginning of the film to lines such as "You can't take a woman and then sell her immortal soul". Even during the earthquake's aftershock the underworld itself opens up (and one poor sucker falls into it); and at the very end of all this Blackie repents his sinful ways. If you can accept Blackie's conversion then you still have to deal with the extremely corny, patriotic finale but I can still get a kick out of such cheese.Jeanette MacDoanld, what a voice! The reaction of the church goers listening on in awe when she sings in the choir is the same reaction as the viewer; San Francisco is after all a vehicle designed for the full range of her talents. Plus that title song is one catchy tune and I'm happy to hear it multiple times throughout the film. Likewise Spencer Tracy appears in the film for 15 minutes and 58 seconds but he is the actor who leaves the biggest impression acting wise. Father Tim Mullin is the predecessor to Tracy's Father Flanagan in Boy's Town. Tracy was an actor who had the ability to play such a saintly character without it being sickly even as he inhabits the office of his church amongst the most heavenly lighting. Is Blackie an atheist or just non religious? The first dialogue between him and Father Mullin suggests he may not believe in God; "So you still believe in Santa Claus?" followed by Mullin's response, "Trouble with you is that you don't believe in anything". The character relationship between Blackie and Father Mullin is the same which was seen in Manhattan Melodrama (in which Gable plays a similar character also called Blackie) and later in Angels With Dirty Faces. The two childhood friends who end up taking very different paths in life (one of moral servitude and the other of crime and corruption) yet their friendship prevails despite such contrasting lifestyles and views. Blackie Norton couldn't be more of a Clark Gable character; a man under great pressure, business owner, runs for political office, has a way with women, cocky, street smart and a lovable jerk. It's not clear to what extent his criminality runs to other than that he (along with numerous business owners in San Francisco) run his establishment without a license; there was still a bit of the Wild West in 1906 San Francisco.

Being a fan of classic film and being an admirer of Clark Gable and Spencer Tracy, also having heard near-unanimous positively for it and liking Jeanette MacDonald in general than most people, interest was high for seeing 'San Francisco'.Seeing it, maybe it is not quite as good as touted and not quite the masterpiece personally was expecting. However, 'San Francisco' is still a very good and truly impressive film, it must have been back then and still holds up well from personal opinion (though not everybody is going to agree). Some things work better than others, with a few things that could have come off much better, but the good things, which are numerous and big in size, far outweigh the bad things.Can definitely understand the mixed opinions on Jeanette MacDonald. Being a lifelong fan of classical music, opera and operetta, and actually liking her voice, to me the music was wonderful (particularly the title song, which MacDonald sings the heck out of, the rousing and moving Battle anthem, the 'Faust' sections and 'La Traviata's' "Sempre Libera") and she sang the music very well with a silvery purity and limpid beauty.With that being said, MacDonald (who usually is a good actress, in her outings with Nelson Eddy, she was the superior actor of the two) disappoints dramatically and it is down to that the role is not right for her, she is over the top and she is too lightweight for the role for somebody who is better known for operetta and her films with Eddy. As good as the music is, there could have been a little less of it because it does tend to slow the film down and spoil the flow of the story.The film is also a little too heavy on the religious elements, which were in serious need of a toning down. The love triangle does have a lot of heart, but is rather predictable and corny while the chemistry between Gable and MacDonald could have been stronger.However, there are so many good things about 'San Francisco'. It is a great-looking film, beautifully filmed and the production design and costumes are similarly gorgeous. The adroit direction helps things too. As said the music is wonderful, and much better performed than people give credit for.'San Francisco's' script is intelligent, rousing and heartfelt, with only the religious elements in need of a toning down. The story is compelling, lifts the spirits, wrenches the gut and brings tears to the eye. The ending is melodramatic in a way but is also poignant, full of inspiration and spirit-rousing.As people have said, the highlight is the earthquake sequence, a thrilling and gut-wrenching sequence with astounding special effects that were revolutionary in their day.Gable gives one of his best performances as a quite complex character that he brings many nuances to it in a way a number of people would not. Tracy is restrained but also commanding and both men work wonders together. The supporting cast are all solid.Overall, very often and often truly impressive if not quite a masterpiece. 8/10 Bethany Cox

Alongside "Gone With The Wind" MGM's SAN FRANCISCO (1936) is without doubt the finest romantic drama to emanate from Hollywood in the thirties. A movie that had everything going for it - a splendid story and script, a superb star in Clark Gable, a beautiful actress with an arresting singing voice in Jeanette MacDonald, wonderful songs and an earthquake sequence that will not only knock your socks off but can stand up proudly beside anything that computer graphics can conjure up today. The picture also was the most sensational profit making movie of 1936 speeding past "The Great Ziegfeld" from the same year. Produced for the studio by John Emerson and Bernard Hyman it was directed with great punch and attention to detail by W.S.Van Duke. The Perfectly handled screenplay was written by Anita Loos from a story by Robert Hopkins and the crisp monochrome cinematography was by Oliver T. Marsh.It is 1905 in San Fransico and Blackie Norton (Clark Gable) runs "The Paradise" a not too respectable night club on the rowdy Barbary Coast. A girl Mary Blake (Jeanette MacDonald) arrives in the city from the country looking for a job singing. She approaches Norton who interviews her and is very taken by both her beauty and her prowess as a singer. He hires her and in the following weeks they fall in love but Blackie comes up against some competition from Jack Burly (Jack Holt) the wealthy owner of the Tivoli opera house. Burly falls for Mary too and wants to buy out her contract from Norton to have her sing in the opera. But Norton refuses and is not for turning. However after an altercation with Blackie she walks out on him and goes to the Tivoli where she becomes a singing sensation. Still in love with Blackie she however sees no future with him and just as she becomes engaged to Burly a tremendous earthquake wreaks havoc on the great city. The picture ends with the death of thousands of citizens including Jack Burly and an injured Blackie searching through every bit of rubble for Mary before eventually finding her alive and well and leading the survivors singing the hymn "Nearer My God To Thee" in a makeshift camp outside the destroyed city.Performances are top notch throughout the movie. Gable is terrific as the flamboyant Blackie Norton. His role looking every bit like a dry run for his Rhett Butler three years later. Excellent too is the inviting and quite lovely Jeanette MacDonald. The vivacious lady is simply electric! She just lights up the screen and delights us with her mellifluous singing voice in renditions of arias from Gounod's FAUST, Verdi's LA TRAVIATA, Nacio Herb Brown's lovely WOULD YOU and the rousing title song SAN FRANCISCO written by Polish composer Bronislau Kaper who was just starting out on his illustrious film music career at MGM. The song would become a hit and remains to this day the city's favoured anthem. Of course the real star of the picture is the special effects with the climactic earthquake sequence. Designed and implemented by Russian montage expert Slavko Vorkapach it remains an amazing achievement for thirties cinema which can still manage to excite and frighten today with just as much impact as anything in modern film.It is almost inconceivable that a seventy five year old movie can remain such a firm favourite which it steadfastly has maintained over the years. The film was nominated for four Acadamy Awards (winning one for sound recording), has a beautiful screenplay, is wonderfully directed and besides the lovely songs from the attractive Miss MacDonald contains some moments of real charm especially the scenes with the two principles. SAN FRANCISCO is a great and fascinating film from vintage Hollywood and looks like it will continue to be one of the most fondly remembered movies of all time.

In 1906 San Francisco, sinful Clark Gable (as Blackie Norton) runs both his "Paradise" saloon and a mayoral campaign. For the former, he hires soprano Jeanette MacDonald (as Mary Blake). Despite their differences, the two fall in love. Gable receives prayers from former boyhood pal Spencer Tracy (as Tim Mullin). Father Tracy calls San Francisco, "The most godless city in America." Gable and Tracy remained best friends, although Gable grew up to be an atheist alcohol pusher, and Mr. Tracy became a priest.MGM's dramatic musical depends upon your appreciation of MacDonald's glass-shattering singing style, since she handles nearly all of the vocalizing. Mismatched stars Gable and MacDonald were big box office. The film's big hit was the excellent "Would You?" which was introduced to radio listeners by none other than Bing Crosby; oddly, his version charted at a lowly #20 while versions sung by Joe Sudy (#4) and Johnny McKeever (#5) competed for the bigger sales. Of course, the exceptional title song was also a hit."San Francisco" attracted much award attention. It was the "Best Picture" of the year according to "Photoplay", finished high at #4 in the annual "Film Daily" poll, and made the "Academy Awards" top ten. The "Academy Awards" polled W.S. Van Dyke as the #2 "Best Director" of the year, just behind winner Frank Capra (for "Mr. Deeds Goes to Town"). There were six "Oscar" considerations in all, including a nomination for Tracy in the "Best Actor" category, although his is quite clearly a supporting performance.This is a film which necessitates two user ratings from me: *** (3 stars) for the God-awful stupidity occurring before the quake, and ********* (9 stars) for the exceptionally well made earthquake and aftermath, averaging out to…****** San Francisco (6/26/36) W.S. Van Dyke ~ Clark Gable, Jeanette MacDonald, Spencer Tracy, Jack Holt