Three Came Home

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Three Came Home
Directed by Jean Negulesco
Produced by Nunnally Johnson
Written by Nunnally Johnson (Agnes Newton Keith, autobiography)
Screenplay by Nunnally Johnson
Based on Three Came Home 
by Agnes Newton Keith
Starring Claudette Colbert
Patric Knowles
Florence Desmond
Sessue Hayakawa
Phyllis Morris
Narrated by Claudette Colbert
Music by Hugo Friedhofer
Cinematography William H. Daniels
Milton R. Krasner
Edited by Dorothy Spencer
Distributed by 20th Century-Fox
Release dates
  • February 20, 1950 (1950-02-20) (US)
  • March 27, 1950 (1950-03-27) (UK)
  • May 18, 1950 (1950-05-18) (Australia)
Running time
106 min.
Country United States
Language English
Box office $1.9 million (US)[1]

Three Came Home is a 1950 American post-war film directed by Jean Negulesco, based on the memoirs of the same name by writer Agnes Newton Keith. It depicts Keith's life in North Borneo in the period immediately before the Japanese invasion in 1942, and her subsequent internment and suffering, separated from her husband Harry, and with a young son to care for. Keith was initially interned at Berhala Island near Sandakan, North Borneo (today's Sabah) but spent most of her captivity at Batu Lintang camp at Kuching, Sarawak. The camp was liberated in September 1945.

Adapted and produced by Nunnally Johnson, the film starred Claudette Colbert in the lead role. It is now in the public domain and so is available to watch in its entirety online at no charge.[2]


American-born Agnes Keith (Colbert) and her British husband Harry Keith (Patric Knowles) live a cushioned colonial life in North Borneo with their young son George in 1942. Keith is the only American in Sandakan. Worried about the rumors surrounding Japanese invasion, Harry asks Agnes if she would leave for the United States along with George. Agnes replies that she would sent George but not go herself. In the meantime, the Pearl Harbor incident takes place. Japanese soldiers led by Colonel Suga (Sessue Hayakawa) capture the place. Suga is fluent in English and has read a book on Borneo authored by Mrs. Keith. During the Japanese invasion of Sandakan, Agnes has a miscarriage. Europeans living there are moved to prison camps. Harry lives in the camp meant for men while George and Agnes live in another camp. After a few days, women and children are taken to another camp.

When Col. Suga is made in-charge of all the camps in the region he visits the one where Agnes lives and asks her to autograph a book's copy he had obtained from her house. Agnes does so. The camp guards are very cruel and oppressive. This is seen when they shoot a group of Australian men who tried to cross the wire fences. One of them attacks Agnes and she complains to Suga, who then asks Lieutenant Nekata to investigate in the matter. However, Agnes is not able to identify her assailant. Nekata again asks her to identify the assailant and after Agnes fails to do so he gives her a document to sign. She refuses to do so and is therefore tortured. In 1945 Japan surrenders and Suga's family dies in the Hiroshima bombing. He is arrested by Australian soldiers and the Keith family finally reunites.


The women prisoners were portrayed by Drue Mallory, Carol Savage, Virginia Kelley, Mimi Heyworth and Helen Westcott.[3]


In March 1949, Showmen's Trade Review reported that Negulesco's contract with 20th Century Fox had extended for one year and he will direct the film.[4] Olivia de Havilland was being considered for the lead role.[5] Nunnally Johnson wrote the film's screenplay and also produced it.[6][7] Milton R. Krasner provided cinematography for the film.[8] Musical score was composed by Hugo Friedhofer.[9] Lionel Newman was the film's music director.[10] Editing was done by Dorothy Spencer.[11] Florence Desmond was filming in Las Vegas when the production company asked her to audition for her role.[12] This was her first co-starring with Colbert.[13] Alan Marshal was cast in April 1949.[14] Shooting started on May 4, 1949 and finished on June 26.[15][16] A second unit filmed locations in Borneo for four weeks.[17] After principal photography was complete, Colbert told Negulesco "You know I'm not given to exaggeration so I hope you believe me when I say that working with you has been the most stimulating and happiest experience of my entire career."[18][19] She had broken her back while shooting for one of the violent scenes.[20][21] This was the first American film in which Hayakawa spoke his native Japanese language.[22] While filming for the concentration camp scenes, Colbert did not apply any makeup.[23]

20th Century Fox gave the film in a package of 8 to exhibitors, who had the right to cancel out the films not shown.[24] Child psychologist and domestic guidance counselor Peter Blos was hired by the studio to help advertise the film. Under him, an advertisement was designed in such a manner so as to promote the "family" element in the film's story. This advertisement featured in selected publications having a circulation above 30 million.[25] The National Legion of Decency rated the film A II.[26] An alternate title for the film in France was Captives à Bornéo.[27] Response to the previews were positive.[28] A free screening of the film was organized by Illini Union Student Activities during the Union Movie Week in February 1953.[29] Seven Arts Associated included the film in Volume 8 of "Films of the 50's" in 1963.[30]

Critical reception[edit]

Upon the film's February 1950 release, Bosley Crowther said the film "bids fair to stand as one of the strongest of the year"; according to him:[3]

"Miss Colbert's performance is a beautifully modulated display of moods and passions and explosions under most inhuman and unnatural stress and strain. And Mr. Hayakawa's calculation of the Japanese colonel is a rare accomplishment. But Patric Knowles is also excellent as the British husband of Mrs. Keith from whom she is early separated, and Florence Desmond is superb as a cheerful inmate in the prison camp. Indeed, a little fellow named Mark Keuning contributes immeasurably, too, as the 4-year-old son of the author to whom she desperately clings through her ordeal. Played against realistic settings, which vividly convey the meanness of the jungle prisons, and directed by Jean Negulesco for physical and emotional credibility, Three Came Home is a comprehensive film. It will shock you, disturb you, tear your heart out. But it will fill you fully with a great respect for a heroic soul."

Three Came Home was Life magazine's "Movie of the Week" for March 20, 1950.[31] According to Variety, "Agnes Newton Keith's deeply affecting autobiog [sic] ... has been turned from print to celluloid without any easing of the book's harrowing impact"; "Many of the scenes are tearjerkers in the better sense of the word."[32] In August 1976, Leslie Halliwell described the film as "[w]ell-made, harrowing", assigning it ** (2 stars out of 4), a rarely granted high rating.[33]

A review published in TimesDaily noted that Colbert had played an "infrequent straight dramatic [part]" and praised the production's authenticity.[34] Harold V. Cohen of Pittsburgh Post-Gazette praised the performances given by the actors and wrote that the story "hits the head and the heart like a whiplash, and lays a chill lump in the throat." He further wrote that the film was "an absorbing saga of the blood and the sweat and the tears which were far removed from the battlefields of World War II".[35] Kaspar Monahan of The Pittsburgh Press wrote that he had "seen no other film which deals so fairly with the Japs, depicted as individuals and not as types." He praised the film's authenticity and the cast members, especially Hayakawa and Colbert. He concluded his review by writing "It should be seen as a tribute to the gallant human spirit."[36] Herb Miller wrote in the Sunday Herald that it was not a "pretty picture" but a "truthful one". He termed the performances fine but praised Hayakawa by writing "Hayakawa dominates every scene in which he appears. He is a characterization that will rank with the best of the season."[37] Mitch Woodbury wrote in the Toledo Blade that the film would "tear out" the viewer's heart. He called it a "finely made", "deftly played" and "realistically directed screen drama", ignoring which "[was] impossible."[38] The Sunday Herald appreciated Colbert's "sincere and memorable performance", the film's authenticity and called it "surprising restrained". However it criticized Negulesco's direction by saying that he "[had] just missed again".[39]

In May 1985, and timed to correspond with Colbert's return to Broadway in a revival of Aren't We All?, Howard Thompson, reviewed the film in anticipation of its "rare TV showing" on cable's USA Network. He called it "a peak in Miss Colbert's long and distinguished Hollywood career" and a "strong, compassionate film vividly evokes the horror and bleak futility of war." The film depicts "desperate women's fortitude, tenacity and love... Miss Colbert's honest, fervent portrayal - the same Miss Colbert now magnetizing Broadway in an airy, drawing-room bubble - mirrors it all."[40] Thompson repeated his endorsement of the film a dozen years later when it was on the History Channel.[41] Film historian Daisuke Miyao wrote in Sessue Hayakawa: Silent Cinema and Transnational Stardom that Hayakawa's role was similar to the ones he played in silent films.[42] A review published in Movie Makers appreciated the director for "[putting] together an admirably honest drama of war, women and children.[43]

At the 1950 Vichy Film Festival, the film won the Best Film Award and Colbert won the Best Actor Trophy.[18] At the 1951 Freedoms Foundation Film Awards ceremony it was at the 4th place for "Outstanding achievement in bringing about a better understanding of the American way of life".[44]

See also[edit]


  1. ^ "The Top Box Office Hits of 1950". Variety. January 3, 1951. 
  2. ^ "Three Came Home : Jean Negulesco". Retrieved December 23, 2012. 
  3. ^ a b Crowther, Bosley (February 21, 1950). "Moving Story of War Against Japan, Three Came Home, Is Shown at the Astor". The New York Times (Arthur Ochs Sulzberger Jr.). Retrieved December 23, 2012. 
  4. ^ Lewis, Ann (March 26, 1949). "Production Parade". Showmen's Trade Review (Hollywood, California: Showmen's Trade Review, Inc.) 50: 37. 
  5. ^ Hopper, Hedda (30 October 1948). "'Three Came Home' is next Olivia de Havilland film". The Evening News (Harrisburg, Pennsylvania). p. 4. Retrieved 17 April 2015 – via  open access publication - free to read
  6. ^ Production Encyclopedia 1952, p. 263.
  7. ^ Production Encyclopedia 1952, p. 205.
  8. ^ Production Encyclopedia 1952, p. 294.
  9. ^ Production Encyclopedia 1952, p. 327.
  10. ^ Production Encyclopedia 1952, p. 334.
  11. ^ Production Encyclopedia 1952, p. 355.
  12. ^ "[Untitled]". Screenland (J. Fred Henry Publications, Inc.) 53: 57. 1949. Retrieved 26 March 2015. 
  13. ^ "Around The Town". Screenland (J. Fred Henry Publications, Inc) 53: 62. 1949. 
  14. ^ Lewis, Ann (April 9, 1949). "Production Parade". Showmen's Trade Review (Hollywood, California: Showmen's Trade Review, Inc.) 50: 28. 
  15. ^ "Production Total Unchanged at 26". Motion Picture Daily (Hollywood, Los Angeles: Quigley Publishing Co.) 65 (88): 2. May 5, 1949. 
  16. ^ "Coast Production continues to climb". Motion Picture Daily (Hollywood, Los Angeles: Quigley Publishing Co.) 65 (124): 2. June 27, 1949. 
  17. ^ "Three Came Home (1950) - Overview". Turner Classic Movies. Retrieved December 23, 2012. 
  18. ^ a b Dick 2008, p. 177.
  19. ^ Passafiume, Andrea. "Three Came Home (1950)". Turner Classic Movies. Retrieved December 23, 2012. 
  20. ^ Dick 2008, p. 176.
  21. ^ Staggs 2013, pp. 59–60.
  22. ^ "Sessue Hayakawa Makes Comeback In 'Three Came Home'". TimesDaily. August 17, 1950. p. 14. Retrieved 23 March 2015 – via Google News Archive. 
  23. ^ "Gossip In The Lobby". Screenland (J. Fred Henry Publications, Inc.) 53: 73. 1949. 
  24. ^ "Smith sets first eight in new group selling plan". Independent Exhibitors Film Bulletin (New York: Film Bulletin Company) 18 (8): 1. April 10, 1950. 
  25. ^ "Short Subjects". Independent Exhibitors Film Bulletin (New York: Film Bulletin Company) 18: 15. February 27, 1950. 
  26. ^ Motion pictures classified by National Legion of Decency. New York: National Legion of Decency. 1959. p. 240. OCLC 750484145. 
  27. ^ "Notice bibliographique" (in French). Bibliothèque nationale de France. Retrieved 24 March 2015. 
  28. ^ "Three Came Home". Showmen's Trade Review (Showmen's Trade Review, Inc.) 51: 206. 1949. Retrieved 30 March 2015. 
  29. ^ "Custom Observed : IU Movie Week". Daily Illini (Illini Media). 24 February 1953. p. 2. Retrieved 24 March 2015. 
  30. ^ "New Seven Arts film package". Broadcasting (Broadcasting Publications) 65: 56. October 28, 1963. 
  31. ^ "Three Came Home: Film Tells a Grim, True Tale of Life in a Japanese Prison". Life (Time Inc) 28 (12): 61ff. March 20, 1950. ISSN 0024-3019. 
  32. ^ "Three Came Home". Variety. Retrieved December 23, 2012. 
  33. ^ Halliwell 1994, p. 1082.
  34. ^ "Three came Home: Off beaten path, usual War film". TimesDaily. August 14, 1950. p. 4. Retrieved 23 March 2015 – via Google News Archive. 
  35. ^ Cohen, Harold V. (March 23, 1950). "The New Films: Three Came Home' Opens At The Fulton; Penn gets Nancy Goes to Rio". Pittsburgh Post-Gazette (Block Communications). p. 14. Retrieved 23 March 2015 – via Google News Archive. 
  36. ^ Monahan, Kaspar (March 23, 1950). "Show Shops: Harrowing Three Came Home at Fulton". The Pittsburgh Press. p. 30. Retrieved 23 March 2015 – via Google News Archive. 
  37. ^ Miller, Herb (March 26, 1950). "That Was Tough War - Remember?". Sunday Herald. p. 77. Retrieved 23 March 2015 – via Google News Archive. 
  38. ^ Woodbury, Mitch (May 19, 1950). "Paramount". Toledo Blade. p. 51. Retrieved 23 March 2015 – via Google News Archive. 
  39. ^ "Three Came Home". The Sunday Herald (Sydney). April 30, 1950. p. 5 S. Retrieved 26 March 2015 – via Trove. 
  40. ^ Thompson, Howard (May 19, 1985). "Critics' Choices: Cable TV". The New York Times (Arthur Ochs Sulzberger Jr.). Retrieved December 23, 2012. 
  41. ^ Thompson, Howard (June 29, 1997). "Movies This Week". The New York Times (Arthur Ochs Sulzberger Jr.). Retrieved December 23, 2012. 
  42. ^ Miyao 2007, p. 271.
  43. ^ "Rich in Realism". Movie Makers (Amateur Cinema League, Inc.) 25: 24. 1950. 
  44. ^ "Short Subjects". Independent Exhibitors Film Bulletin (New York: Film Bulletin Company) 19: 14. February 26, 1951. 


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