While a world’s premiere is always somewhat an occasion in the theatre, more than usual importance can be attached to the event which comes to The Liberty today.

First, the production is "Come and Get It!" and epochal drama of the lumber industry, which immediately renders it of particular interest in the Pacific Northwest.  Second, the greater part of the picture was filmed in Washington logging country.

And finally, its leading feminine player, Frances Farmer, lovely blond Seattle girl who has soared spectacularly to film renown, is making a personal appearance on The Liberty stage with the premiere tonight.

Film Vastly Superior

Even without these major points that stand out as local interest, "Come and Get It!" holds its own among the more important pictures of the year. In every department the film emerges a vastly superior entertainment. Its characters live with pungent realism; its theme is powerful in natural drama, and as a production it is magnificent.

Lumber Scenes Spectacular

Opening sequences, notable for their superb photography, are a spectacular study of lumber operations in the days of ruthless logging.   The boss, Barney Glasgow, celebrates a success with a roistering spree for the lumberjacks.  In the saloon, Glasgow falls in love with Lotta Morgan, a dance hall girl.  But he forsakes her to further his ambitions and marries his employer's daughter.  His Swedish pal, Swan Bostrom, weds the heart-broken Lotta.

More than a score of years elapse.  Now rich and powerful, with a grown son and daughter of his own, Barney Glasgow meets the beautiful daughter of his early sweetheart and falls desperately in love.  The drama attains its compellingly forceful climax when the tragic father discovers his own years and his son's youth.

Arnold gives what is perhaps his most brilliant performance. But Frances Farmer is the surprise of the picture. The young actress, hitherto confined to more or less inconsequential roles, portrays the two characters of mother and daughter with such fine understanding and admirably restrained emotional appeal as to lift her immediately to a place high among the screen’s more gifted players. Outstanding, too, are Walter Brennan, who scores in a Swedish character role as Glasgow’s pal; Joel McCrea, as the son; Mady Christians, Frank Shields and Andrea Leeds.

Howard Hawks and William Wyler can be credited with irreproachable direction.