A Tree Grows in Brooklyn

FISCHER

Premier long métrage du réalisateur Elia Kazan, d'origine arménienne, ayant déjà une place primordiale dans le milieu du théâtre, qui adapte avec assurance et sensibilité un roman à succès de l'époque, avec quelques acteurs remarquables qui n'eurent pas tous le succès escompté dans la suite de leur carrière... www.cinefiches.com

Harry Rossi

I was honestly surprised by how much I enjoyed this film. Wasn't too enthralled at first but as the film went on I became more and more engrossed with just how emotional and beautifully shot this film is. A wonderful first effort from Kazan. James Dunn is also absolutely captivating on screen.

Aida

Annoying, all of it. Especially the little girl. The same self-indulgent Southern European cardboard realism of Capra, but without the exuberance or whimsy. Lugubrious, oppressive, uninteresting, charmless. Totally unimpressed with Kazan's hokey direction.

luminous

“I know that's what people say - you'll get over it. I'd say it, too. But I know it's not true. Oh, you'll be happy again, never fear. But you won't forget. Every time you fall in love it will be because something in the man reminds you of him.”

Love Walked In

To have a room on the top floor was very important for the family even though it was a reluctant move. They could look down on the street where children're buzzing with a big christmas tree in hand or in hard time the daughter could go up to the roof to pour out her emotion.

Howard Fritzson

Every time I watch, I cry shameless tears. The scene with Blondell and Peggy Ann Garner in the lavatory is devastating. Joan Blondell is a primal force. She heals like Aretha. You love her because she envelops you. This is beyond talent.

Acerk21

This is a truly great coming of age film that effectively draws the audience in and makes them care for everyone in it. Kudos to Peggy Ann Garner, who gives one of the most credible child performances in recent memory and to Kazan who made his directorial debut with this film.

Sanket Mistry

This film not the typical Hollywood storytelling that was in the 40's, but this is much more to that. This movie showed the other side of New York City, the ghettos of Brooklyn. I feel, this film paved the way for filmmakers like Martin Scorsese, who later showed the uptown of New York City in Taxi Driver. The direction of Elia Kazan didn't even felt like it was his debut film.