In a contemporary review,
The New York Times wrote, "R. C. Sherriff and James Whale, who distinguished themselves as a team by their skillful handling of the film of
H. G. Wells's book, "
The Invisible Man", have fashioned a grand picture out of the late John Galsworthy's last novel." In its visual style, the film confirms Whale's immense talent, still too little known apart from his visionary horror tetralogy (
Frankenstein [1931];
The Old Dark House [1932];
The Invisible Man [1933];
Bride of Frankenstein [1935]) and the analogous (if long suppressed)
musical film breakthrough of
Show Boat (1936). More recently, Chris Fujiwara wrote on
TCM.com, "
One More River was released in August 1934 to great critical enthusiasm, which was not matched by popular interest. The mediocre
box-office performance of the film, together with its
genteel tone and its detailed concentration on the texture of social interaction, helped doom the film to undeserved neglect. It has rarely been revived and has received little attention from critics or historians, except in the context of
auteurist appreciation of Whale's career.
One More River needs rediscovery." Interest in
Mrs. Patrick Campbell, and her relationship with
George Bernard Shaw, can also spark topicality on the film. Film historian
William K. Everson considered the film "by far Hollywood's most successful attempt at putting any aspect of England on the screen." He added: "Perhaps as an Englishman I am nostalgically over-enthusiastic because I have never seen such a convincing and 'right' Hollywood film about England [...] Perhaps I am also nostalgically enthusiastic because of its pleasing, gentle, civilized reflection of an England that is largely no more."
Colin Clive's "first appearance, in a series of four shots that showcase his stiff swagger and superior scowl, is as devastating an entrance as any ever accorded a screen villain," Fujiwara continued. "The courtroom sequence is an astounding piece of filmmaking, with Whale's elaborately mobile camera accentuating the vastness of the space and setting off the rich contrasts in acting styles among the participants." ==References==