I viewed this movie and fell in love with the story of a family who owned a Pittsburg Steel Mill. What a great movie where determination and love of the steel mills helped preserve and shape the USA into a world power. The portrayal of steel workers along side the upper class was particularly interesting, because the owners are showed as observers and not really part of the sweat and steel, until Gregory Peck gives an awe inspiring speech about what its like working on the ground floor of a steel mill. I particularly enjoyed Gregory and Greer's on screen relationship and the difficulty of romantic relationships between two different classes. I thoroughly enjoyed this movie.

Something about old films and the way the predictability does not inhibit viewing enjoyment. I really liked this movie and found it very strait-forward and pure. The acting was superb and the performances by Greer Garson and Gregory Peck were both fantastic as well as nice performances by the supporting actresses Marsha Hunt (Constance Scott) and Gladys Cooper (Clarissa Scott).A tale of and Irish-poor girl, Mary Rafferty (Garson), who finds love outside of her social status with Paul Scott (Peck), and heir to the families Steel fortune/mill...nothing real or avant-Gard happening but the truth of how love has no boundaries. I truly feel that this movie should be used as a blue-print to how Hollywood can portray a true love-without-boundaries type melodrama in the most exquisite and pure way.

Finally caught up with this one via a recent Turner Classic Movies broadcast and have to regretfully admit that I'm in the minority (i.e., negative) opinion here. I found it awfully disappointing in lots of ways, from the miscasting of the too-old-for-the-part and rather patrician Greer Garson (obviously photographed through the softest focus possible in several closeups), to the surprisingly paltry production values. The skimpy backlot work and the really wretched art direction (at least for a prestige M-G-M picture) were appalling. Only the women's costumes (by Irene) seem to be up to the standard that the other Metro artisans (cinematographer Joseph Ruttenberg, composer Herbert Stothart, et al.) usually achieve. And as for Tay Garnett's direction, oh my goodness! Gregory Peck, in what was only his second lead role in a major production, given too little to do; Dan Duryea managing little more than a reprise of his role as the family spoiler as in 1941's "The Little Foxes"; Lionel Barrymore totally, shamelessly out of control; Preston Foster, usually a stalwart asset, quite wooden and ineffective; the usually wonderful Jessica Tandy much too shrill; the very young Dean Stockwell allowed to be more than annoying; and only the peerless Gladys Cooper acquitting herself without dishonor. All in all not one of M-G-M's best examples of its glory days as Hollywood's preeminent major studio.

Okay, I'll admit that this movie is a bit heavy-handed at times. Lionel Barrymore's performance as Mary's father is not a subtle performance and the movie is a tad predictable at times. However, despite these minor shortcomings, this is a marvelous romantic flick from Hollywood's heyday and is a great early Gregory Peck vehicle.Mary (Greer Garson) is a lovely poor lass who goes to work as a housekeeper in the home of the wealthy family (the Scotts) who own the local steel mill. This is problematic, as Mary's father was seriously injured in the mill and bears an intense hatred of the Scotts. It becomes even more problematic as, over time, handsome Paul Scott (Peck) falls for her and asks for her hand in marriage! Yikes! However, this is only about half-way through the movie--what happens next you'll need to find out yourself.Great performances (not just from the two leads but from capable supporting actors such as Donald Crisp and Dan Duryea), direction, sets and writing make this one of my personal favorites. Watch it!