I like the storyline of this show,it attract me so much

One of the best films i have seen

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

Having left school at the age of 12, Joan Crawford's Marian never learned to spell regret. And as perfect as the are together, her handsome attorney lover Clark Gable doesn't want to marry her to risk finding out her imperfections. It's a perfect relationship, but as much of a lady Joan becomes after leaving her factory town, she desires that quality called respectability. As much of an obvious gold digger she is, she's open about it, and that's what Gable likes about her, tired of the phoniness he's encountered before. But as his reputation grows and his political clout increases, she's a danger to him, something she refuses to be. Almost semi-autobiographical, this parallels Crawford's rise up the ladder from uneducated chorus girl to extra to rising starlet, to by this time, superstar. It's also Gable's first hit, and the sparks fly from the moment she intrudes on Skeets Gallagher's business meeting and wins him over. Earlier, a drunken Skeets advised her to get out of her factory town and board the train to the other side of the tracks. If the sight of her tired mother Clara Blandick doesn't convince her that it's time, it's content suitor Wallace Ford. By the time Crawford has gotten in to deep, she fights the tears back as she's too far in, and her only choice to save him and her self respect is to get out. This plot line sounds like the special dialog added to the Judy Garland speech in the middle of "Dear Mr. Gable". This isn't just your typical Joan Crawford tearjerker. There is something special about this film, for me not just being one of the very first Crawford film I recall seeing on home video, but in its tale of moral struggle and misplaced ambition as well. Crawford isn't just some beautiful ice statue; she has all the right ingredients for super-stardom, and under the direction of veteran director Clarence Brown, reaches it with no yellow brick road to skip down. With this film, her legendary status became assured.

Possessed (1931)A wonderful Joan Crawford film not to be confused with her second, completely unrelated, also wonderful movie of the same title (yes) from 1947. This one, to be sure, also stars Clark Gable, and it dates from the years when Gable and Crawford had an intermittent, steamy affair. The chemistry is good, the filming excellent (and sometimes breathtaking), and the overall story a lively pre-code, Depression-era tale of succeeding.But success at what cost? That's the key. You love Crawford's rise, and her methods are sincere even if not as sweet and homespun as the first scene would imply. It's not that she's corrupted, but that she discovers the excitement of the big city, and the truth that there really is sincerity there as much as in the little town she came from.Gable represents every girl's dream, of course. He's suave, warm, funny. And rich. Their interactions are natural throughout, and the pace lively (as most of the famous pre-Code films are).The filming is excellent, including a somewhat famous long take of Crawford, near the beginning, watching a train slowly amble by as a parade of different scenes unfolds through each window. It's worth seeing just for that scene alone (if you like great cinematography, and the aura of old Hollywood).Clarence Brown is the uncredited (!) director here, and he's terrific. See "A Free Soul" made at the same time for another (even better) film showing off his ability to make dialogs crisp and true. (He's more famous for his many movies with Garbo, but he did a slew with Crawford.) If you think there is a predictability here, you're going to be partly wrong. See this one, not because it's a classic, but because it's very very good, and forgotten. You will have trouble finding a good version, however. The one I found was on iTunes and it was so terrible (harsh tones, highlights so washed out you couldn't see their faces in many scenes) I don't recommend it. (I wrote to complain and got a quick refund, an apology, and a promise to look into it. I don't know if that fixed the problem, however, in Spring 2014.) Anyway, find a good copy somehow. Do it.

"Possessed" was rushed into production after the disappointing "This Modern Age" which, despite it's title, was very passe. The one satisfying thing that Joan Crawford took away was being able to play opposite one of her acting idols, Pauline Frederick, and she soaked up the older actress's refinement and speech. More than any other director (except maybe George Cukor) "Possessed" director Clarence Brown was able to really get inside MGM's star actresses and show their heart. Brown shot on location and with a brand new 360 degree camera platform was able to capture the depth of the first scene when Crawford, as Marian Martin, emerges with a dusty crowd from the paper box factory which is the hub of the run down town. She is joined by her small town sweetheart Al Manning (Wallace Ford) and their conversation shows Marian's desolation at being imprisoned by her drab and dreary surroundings. "Tired" he asks, "Not just tired - dead" she replies.Marian suddenly gets a glimpse of how the other half live - a private railway car owned by a Manhattan millionaire and as each lighted window goes by each full of luxurious "haves" dangled before the eyes of Marian - the "have not". When Wally (the always welcome "Skeets" Gallagher) offers Marian a glass of champagne she is determined to get away - "Off to the big city to be done wrong" he questions, she replies "to be done right"!!! and impulsively he gives her his card with his Park Avenue address little realising she will follow through.She meets Mark Whitney (Clark Gable) a wealthy lawyer with political ambitions who is charmed by her honesty ("I'm glad you're rich, I couldn't waste my time on anyone poor"!!) As the years go by she becomes the perfect mistress but while they both love each other, Mark has the memory of his first wife dragging his name through the mud after her affair with a chauffeur and he is determined not to let any woman do that to him again. One night during dinner an old friend drops by - with his mistress, Vernice (peppy Marjorie White), as he drunkenly exclaims "I couldn't bring my wife here" and "you have your sweetie, I have mine". Even though there is no comparison, Marian realises they are both sisters under the skin and that, deep down, she craves the respectability of marriage. Thanks to it's stars, Crawford and Gable (I don't think they were ever better paired) you really believe in the story and there are rocky roads ahead with the appearance of a face from Marian's past, Al Manning. Once "poor dumb Al" he is now an opportunistic contractor who brings all his hick town prejudices and narrow mindedness with him. Once he realises Marian is not the respectable widow he thought but mistress to the powerful Whitney he calls her every name he can think of (ironically because it was the money she sent home that enabled him to be put through business college, thanks to her mother). Yet he still wants her to use her influence with Whitney to secure his contract. Crawford comes into her own in the last half hour with all her dramatic talent as well as those beautiful tear filled eyes. She overhears a conversation and realises that unless she is out of Whitney's life he will never fulfill his political ambitions, so the scene is set for an "all stops pulled out" emotional confession with Marian making it clear to a shocked Mark that she was only using him and she is still a grasping factory girl at heart. Of course it couldn't end that way and in another emotional scene, in the midst of a rally, Marian stands up to the crowd to confess that she is the mysterious woman who was once in his life but has stepped aside for the good of his career. With their electrifying chemistry it is no surprise that both stars started on a torrid affair during this movie. They may well have married if they were free but the studio was already fending off threats from Gable's first wife (he was now married to wife number 2) and it was thought that if it came out there would be a scandal for two of MGM's most up and coming stars."Possessed" was also originally banned in England for it's depiction of two people living in sin and actually enjoying it!!

*Contains spoilers* This is a great example of a pre-code "Woman's Picture." Although Joan Crawford's character starts out baldly and brazenly out for a rich man (Clark Gable), she ends up with one she loves dearly and begins to chafe at the tramp label. She sacrifices that love, and the money, for Gable's sake. And throughout, she's never cheap or vulgar but has an honesty and kindness about her.I think it's beside the point to call this picture "dated" -- it is almost 75 years old after all. Rather, it's a movie that came out of a very specific period in cinema. Crawford is fantastic -- as others have noted, you understand why she was such a big star when you see pictures like this. This is well before she descended into melodrama and camp...instead, she is remarkably naturalistic. Gable is virile and charismatic as always. And the ending is romantic, too.