On Borrowed Time - Warner Archive Collection

1939 produced more high-quality films per capita than any other year in Hollywood history, and one of them is On Borrowed Time. Never heard of it? Well, that's probably because this touching spiritual tale has been overshadowed for decades by the likes of Gone with the Wind, The Wizard of Oz, Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Of Mice and Men, The Hunchback of Notre Dame, The Women, Ninotchka, Gunga Din, Dark Victory, Goodbye, Mr. Chips, Midnight, Destry Rides Again, Young Mr. Lincoln, Beau Geste, and Only Angels Have Wings, to name just a few. Yet despite a low budget, little fanfare, and no huge stars to carry it, On Borrowed Time deserves to be mentioned in the same breath as its better-known and more revered 1939 cousins.

A plot that revolves around death is hardly a recipe for box office gold, but On Borrowed Time's impressive pedigree and tender, thoughtful presentation fueled its success at the time of its release. First, a highly regarded novel by Lawrence Edward Watkin, then a hit Broadway play by Paul Osborn (who would later nab Oscar nominations for his East of Eden and Sayonara scripts), On Borrowed Time was a well-known quantity when MGM mounted its screen production. The subject matter may not be cheery, but the mystical overtones and hopeful messaging allow the film to strike a universal chord, and time hasn't dulled its impact and relatability.

Much like the 1934 film Death Takes a Holiday, On Borrowed Time depicts what happens when Death loses its power to end human life. The difference between the two movies lies in how they respectively and respectfully address such a tantalizing idea. In Death Takes a Holiday, Death volunteers to take a break from its spiritual duties, while in On Borrowed Time, the Grim Reaper, who goes by the unassuming name of Mr. Brink and looks like a suave businessman, is tricked into marginalization by the crotchety, wily, wheelchair-bound Julian Northrup (Lionel Barrymore), who's not yet ready to give up the ghost, so to speak, when Mr. Brink tries to seduce him into the afterlife.

Julian has plenty of axes to grind with Mr. Brink, who has mercilessly preyed upon his family. As the film opens, Mr. Brink (played with quiet dignity, wry humor, and sly manipulation by the masterful Cedric Hardwicke) hitches a ride with Julian's unseen son and daughter-in-law, who are killed minutes later when their car careens off a cliff. Devastated by the loss, Julian and his wife Nellie (Beulah Bondi) adopt their young grandson Pud (Bobs Watson), who worships Julian and spends hours upon hours with the old man every day. Trouble quickly brews, though, when their daughter-in-law's greedy, holier-than-thou sister, Demetria (Eily Malyon), who always looks like she's just sucked the juice out of a bushel of lemons, learns Pud has inherited $50,000 from his dead parents. Eager to get her hands on the money, Demetria plots to have the Northrups declared mentally unfit so she can adopt Pud and pocket his cash.

Unaware of Demetria's dastardly motives, Mr. Brink conveniently leads the frail, ailing Nellie toward the pearly gates, leaving Julian as the only obstacle in Demetria's path. Julian is determined to keep Demetria at bay, and when he's granted a wish by his local pastor after he makes a very generous donation to the parish, he uses it to thwart Mr. Brink when he comes calling for him shortly thereafter. Julian traps Mr. Brink in the branches of his backyard apple tree and holds him hostage for days. The only problem is the only people who can see and hear Mr. Brink are Julian and Pud, so when Demetria espies Julian talking to seemingly no one, she has the ammunition she needs to get the county to declare Julian insane.

Believe it or not, a lot more happens after that in On Borrowed Time, which intriguingly examines the consequences of Julian's actions, the nature of death, and the power and depth of human connections. That may sound heavy and deep, but the lyrical screenplay by Alice D.G. Miller, Frank O'Neill, and Claudine West, who would win an Oscar three years later for Mrs. Miniver, and sensitive direction by Harold S. Bucquet tackle the issues with simplicity and grace. Fantasies like this require us to accept metaphysical events without batting an eye, and On Borrowed Time easily allows us to suspend our disbelief, possibly because death is such a familiar yet mysterious and altogether fascinating entity that we're eager to more fully understand. On Borrowed Time of course doesn't supply any clear-cut answers, but its perspective on the subject and its ability to deal with it in an accessible, humorous, and affecting manner keep us engrossed for 99 minutes.

The colorful characters draw us instantly into the story and the marvelous performances help sustain it. Barrymore played countless cantankerous parts over the course of his career, but probably none more cantankerous than Julian Northrup, and his portrayal in On Borrowed Time just might be his finest. Mixing feisty resolve with heartbreaking warmth and a heavy world weariness, Barrymore fully inhabits Julian and never allows the adorable Watson, the best cryer under 10 years old in Hollywood history (who can forget his tragic turn in Boys Town?), to upstage him. The rapport between the two is crucial to the narrative's success, and their comfortable interactions, which run the emotional gamut, make their relationship believable.

The chemistry between Barrymore and Bondi, a fabulous character actress who enlivened dozens of Golden Age films (and is best remembered as George Bailey's mother in It's a Wonderful Life), is also priceless. (Bondi was just 50 years old at the time of filming, yet effortlessly plays a woman of at least 75.) Malyon, who throws off heavy Miss Gulch vibes as the sour spinster seeking to shanghai Pud's inheritance, nails her villainous part, and Henry Travers, another future It's a Wonderful Life alum, brings his usual sincerity to his role as the doctor sent to evaluate Julian's sanity. Una Merkel shines as the Northrup family housekeeper who becomes a key ally to Julian, and Philip Terry, who would briefly become Joan Crawford's third husband a few years later, capably portrays her fiancé.

On Borrowed Time isn't a flashy film. Its power lies in its humanity, its hopeful messages about both life and death, and its core values of decency, standing up for what's right, and the unbreakable bonds of family. It may not have Technicolor, thousands of extras, or a slathering of MGM gloss, but it deserves a spot in the pantheon of great 1939 films. On Borrowed Time stands the test of time and encourages us to make the most of every minute.

Vital Disc Stats: The Blu-ray
On Borrowed Time arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4 and audio is DTS-HD Master Audio 2.0 mono. Once the disc is inserted into the player, the static menu without music immediately pops up; no previews or promos precede it.

A brand new HD master struck from a 4K scan of the best preservation elements yields a pleasing 1080p/AVC MPEG-4 transfer that presents this rare film in the best possible manner. Visible, but not overpowering grain preserves the feel of celluloid and honors the cinematography of four-time Oscar-winner Joseph Ruttenberg. Excellent clarity and contrast, rich blacks, crisp whites, and nicely varied grays produce a solid picture that errs a tad on the bright side, yet still exudes plenty of detail and a fair amount of depth. Good shadow delineation, smooth transitions, and well-integrated process shots enhance the transfer, as do the sharp close-ups that highlight the wrinkles, creases, and sagging skin on Barrymore's face and all the myriad tears on Watson's cheeks. This isn't a wow factor transfer, but it's another high-quality rendering from Warner Archive.

The DTS-HD Master Audio 2.0 mono track outputs clear, well-modulated sound that's free of any age-related hiss, pops, and crackle. Sonic accents like gunfire, the massive shaking of the apple tree, church bells, and the backfiring of car engines are potent, while subtle atmospherics like chirping birds nicely shade the action. A wide dynamic scale gives the music score by two-time Oscar-winner Franz Waxman plenty of room to breathe and all the dialogue is well prioritized and easy to comprehend. Though not particularly active, this track does its job without any noticeable hiccups.

A few vintage supplements enhance the disc.

• Vintage Radio Adaptations (56 minutes) - Two radio adaptations are included on the disc. The first was broadcast on April 1, 1946 as part of the Screen Guild Theater series with Barrymore reprising his role. The highly truncated, 30-minute adaptation also features Agnes Moorehead as Demetria and Vincent Price as Mr. Brink. On October 29, 1948, actor Boris Karloff took a crack at the part of Julian on an episode of Great Scenes from Great Plays, another half-hour broadcast that also stars Walter Hampden as the narrator.
• Vintage Cartoon: Wanted No Master (SD, 8 minutes) - This black-and-white MGM cartoon chronicles a dog's efforts to get his selfish master out of his hair by marrying him off to a very eager - and annoying - widow.
• Vintage Short: A Day on Treasure Island (SD, 10 minutes) - This episode of the long-running TravelTalks series narrated by James FitzPatrick focuses on an island in the San Francisco Bay that in 1939 hosted the Golden Gate International Exposition, also called the "World's Fair of the West."
• Theatrical Trailer (SD, 3 minutes) - The film's original preview completes the extras package.

On Borrowed Time is time well spent. Top-notch performances, solid direction, and timeless themes heighten the impact of this mystical tale told with warmth, whimsy, and plenty of honest emotion. Warner Archive honors this little-known gem with a new HD master struck from a 4K scan of the best preservations elements, remastered audio, and an array of vintage supplements. Highly Recommended. 

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