Gone With The Wind (1939)

“Oak Alley Plantation” photo by Navin Rajagopalan

Please tell me you’ve seen this film.  Sure, it’s four hours long, but it also is something like the most famous movie ever.  Producer David O. Selznick‘s big screen adaptation of Margaret Mitchell’s novel is larger than life in virtually every way – its massive cast, huge locations, epic running time, record-setting ten Oscars, gargantuan box office draw (with inflation it’s still the highest grossing film of all time) – and it really does deserve all of the praise heaped on it.  Southern belle Scarlett O’Hara is the tale’s protagonist, though she is hardly what I would call lovable.  Vivien Leigh‘s memorable performance truly is all that, as she phenomenally captures Scarlett in all her complexity: the strong, unbreakable woman, the frail, whiny child, and the manipulative, flirty temptress.  Love her or loathe her, watching her and her family’s adventures through the Civil War and Reconstruction is mesmerizing.  Clark Gable‘s Rhett Butler is arguably a hybrid of his two previous biggest roles, a heroic seaman with a cynical streak a mile wide who deep down has his heart in the right place, and he plays him magnificently.  His deep love for Scarlett is beautifully (and often amusingly) portrayed, making her rejection of him and the eventual finale all the more heartbreaking.  The rest of the cast is sterling as well.  Olivia de Haviland‘s unquestionably good Melanie, Leslie Howard‘s pleasant (but so boring when compared to Rhett, darn it!) Ashley, Hattie McDaniel‘s utterly politically incorrect but still wonderful Mammy, and Thomas Mitchell‘s briefly present but awesome Gerald are all excellent.  There really are no weak players in the film (though G-d almighty is its depiction of the old South racist).  The beautiful technicolor cinematography by Ernest Haller (who would go on to also film such varied classics as Mildred Pierce and Rebel Without a Cause) also helps the film come alive, as well as Max Steiner‘s gorgeous score, and of course the magnificent period sets and outfits.  So many iconic moments: the opening party, the military hospital, the burning of Atlanta (really a lot of old movie sets), Scarlett’s first return to Tara, little Bonnie, and of course the unforgettable ending.  Yes, it’s long, but it never flags and is worth every minute, so do yourself a favor and watch it.

4.5 out of 5

You Can’t Take It With You (1938)

“untitled” photo by Tomasz Tom Kulbowski on Flickr

Alright, we’re at a run of a few of my all-time favorite films!  And what better one to start with than this gem from good old Frank Capra?  The story, following the traditional Capra model, is a bit predictable but lots and lots of fun.  Tony Kirby and Alice Sycamore fall in love.  His father is a mega-wealthy businessman on the verge of putting together a monopoly, and his mother is a complete snob.  Her family, while perfectly loving and accepting of the match, are all ridiculously eccentric, and her grandfather, the head of the clan, is the one man standing in the way of Kirby Sr.’s deal.  When the young lovers try to bring their families together for dinner, hilarity ensues.  Despite it’s victory at the Oscars, this picture has been overshadowed by the next year’s even more popular Capra-Stewart-Arthur-Arnold collaboration, Mr. Smith Goes To Washington, but this lighter and less political film holds its own against any of Capra’s other works.  James Stewart is in perfect everyman mode as Kirby Jr., a somewhat clueless young man used to a life of business and luxury yet trying to escape through love.  Ed Arnold rules the screen as his cold, money-craving father, though he handles the character’s final shift with equal skill.  However, Jean Arthur really is the film’s soul as Alice, giving a highly comical but also deeply touching performance as she tries to balance her love for her family and her embarrassment by their oddness.  And the masterful Lionel Barrymore practically runs off with the movie as the amusing but also deeply caring and principled patriarch of the Sycamores, an unusually lovable part for him.  The various character actors who portray the rest of the family are also all terrific.  While not exactly a screwball, this film is a definitely funny comedy but also a wonderful reminder of the importance of family and the joy of living spontaneously.  I dare you not to grin when the papas start their “Polly-wolly-doodle” harmonica duet.  And if you haven’t gotten the message yet, get your family together and watch this movie.

4.5 out of 5

The Life of Emile Zola (1937)

“Grave of Emile Zola” photo by LokoN Only One on Flickr

While I can’t say much regarding its historical accuracy, this is certainly a strong, if not a tad dated, old-school biopic.  The beginning is a little slow, as we see the famous Frenchman’s beginnings as a struggling writer who is constantly in trouble for criticizing the government.  However, the film hits its stride around a third of the way through with the introduction of the Dreyfus affair, and, from the moment Zola decides to get involved, it’s hard not to be fascinated.  Paul Muni, at the golden point of his career, is excellent as the iconic journalist, channeling both his comical bluster and his unswerving commitment to spreading the truth.  His great performance as young Zola is only surpassed by his brilliant turn as older Zola.  The supporting cast is decent, with Joseph Schildkraut standing out as Dreyfus, the Jewish army captain wrongly imprisoned for years on Devil’s Island.  Donald Crisp and Henry O’Neil are also good as Zola’s lawyer and the lone honest member of the army staff respectively, and Vladimir Sokoloff is excellent in a small but fun role as Zola’s buddy, the artist Paul Cézanne.  What makes the movie pop, though, besides Muni, are the terrific closing court scenes.  Zola’s trial, as the aging but still powerful figure desperately fights his way through bias, lies, and corruption to reveal the truth, is both wondrous and absolutely painful to watch and in my book ranks among the top court scenes in cinema.  The screenplay absolutely earns its Oscar in those scenes.  Not the greatest movie ever made, but just make it through the first stretch and it’s definitely one worth watching.

3.5 out of 5

The Great Ziegfeld (1936)

“untitled” photo by beggs on Flickr

Possibly the beginning of the Academy’s love affair with rambling biopics, this picture is a mixed bag.  Running over three hours, it’s the life story of showman Florence Ziegfeld, the mastermind behind the Follies and numerous other productions.  And that’s arguably the best word to describe it: a production.  The great William Powell runs the show as Ziegfeld, and he nicely captures all of the man’s larger-than-life attributes; his charm, his incredible attention to detail, his love of grandeur, and his uncanny ability to manipulate any situation to get exactly what he wants.  Luise Rainer is also excellent, both humorous and tragic, as his first wife, Anna Held.  Frank “Oz the great and terrible” Morgan is amusing as Ziegfeld’s old competitor and friend Billings, and Myrna Loy is okay as the showman’s second wife (Billy Burke, who interestingly enough played Glinda in Oz with Morgan a few years later).  However, what really sticks with you from this movie are the musical numbers, if numbers is the right term for them.  The Follies are basically presented on screen, with stars Fannie Brice and Ray Bolger (yes, yet another member of the Oz crew) portraying themselves, and all of the girls, glitz, and stairs start off exciting but become increasingly overwhelming.  The endless “A Pretty Girl is Like a Melody” sequence is especially tedious, dragging on and on with more and more gigantic outfits and set pieces, soon transitioning from awe to boredom.  Sure, the cinematography and costumes are very nice, but did the Follies themselves really need to be put on screen?  Considering how Ziegfeld died less than a decade before the film’s release, the answer at the time was very likely yes, but decades later the whole affair just seems a little forced.  Still, a fairly entertaining picture, just make sure you have a high tolerance for musical extravaganzas.

2.5 out of 5

Mutiny on the Bounty (1935)

“Sailing ship-1” photo by Gerhard Suster

Now this is old-school action-adventure at its most entertaining.  Based on a novel which is itself based on real events, this film is a definite reminder that it’s not special effects that create true excitement, but quality film-making and acting.  Indeed, the leading trio are spot-on and riveting to watch.  Clark Gable is in his prime as Fletcher Christian, the popular officer who, after showing admirable restraint, is finally driven out of loyalty to his men to lead the titular mutiny (a role that, in hindsight, feels a little like a young Rhett Butler).  Meanwhile, Charles Laughton dominates his every scene as the epitome of cruelty, the legendary Captain Bligh.  Laughton portrays a villain with ease and indifference that few actors out there can muster, his careless expression and matter-of-fact tone able to drive a viewer insane.  Franchot Tone, seeming incredibly young despite the meager six year age difference between the leads, manages to do a good job of holding his own between these two titans as the young midshipman caught in the middle of the mutiny (in the end, all three of them received Oscar nominations for Best Actor).  The actors are helped by a strong script and engaging story, a tale of honor, friendship, and survival.  Other assets of the picture include the excellent cinematography (by Arthur Edeson, who also filmed the All Quiet on the Western Front and Casablanca, among other classics) and the beautiful scenery of Tahiti.  After his rather painful trek through domestic Britain in Cavalcade, director Frank Lloyd takes his talents to the high seas this time and puts together a winner.  Should be required viewing for anyone who thinks of directing action-adventure, and definitely worth a look by everyone else too.

4 out of 5

It Happened One Night (1934)

“untitled” photo by Eric Bézine

One of the greatest and most commonly referenced films of the screwball era, this achievement by legendary director Frank Capra (the genius behind You Can’t Take it With You, Mr. Smith Goes to Washington, and the beloved It’s a Wonderful Life)  became the first movie in Oscar history to sweep the “big five” awards: Picture, Director, Actor, Actress, and Screenplay.  Claudette Colbert, who apparently constantly caused problems on the set, is perfect as a spoiled heiress who runs away from her father when he annuls her marriage to a suave fortune-hunter.  Clark Gable matches her in greatness as the cynical reporter who agrees to help the discombobulated girl find her lover for the rights to an exclusive story about them.  As they travel together by Greyhound and (oh so memorably) hitchhiking, romance and hilarity ensue.  While the love story and character transformations are rather predictable, particularly because of the many films that have copied the formula over the years, and perhaps there are dated moments here and there, the banter between the pair is humorous enough to ward off most feelings of boredom, and you’ll be chuckling about the hotel room scenes until long after the picture ends.  The supporting cast is fine, but this movie belongs to its peerless leads, who are each at the top of their game.  And don’t feel obligated to restrain yourself from humming when they start singing.  Watch this film, you won’t be disappointed.

4 out of 5

Cavalcade (1933)

“Victoria in the Library” photo by scazon on Flickr

There are great old movies, there are decent old movies, and then there are movies that just feel ancient.  The worst Best Picture winner I’ve ever seen, Cavalcade definitely fits into the latter category.  The story, which follows a wealthy British family through the first third of the twentieth century – the Second Boer War, the Death of Queen Victoria, the Titanic, World War I, the roaring 20s – is as predictable and unexciting as they come.  Diana Wynyard‘s leading performance is way too histrionic throughout (and somehow she received an Oscar nomination for it, oy gevalt!), though Clive Brook is tolerable as her husband.  It’s the supporting players that sink the film, however, as they all, after pleasant and almost lovable starts, devolve into either irritating stereotypes or ridiculously bland figures.  If you dislike Cockney accents, just don’t even think about this movie.  The adaptation to the big screen (from a Noël Coward play, interestingly enough) is not particularly inspired, with the numerous lengthy conversations quickly adding up.  People don’t naturally say every thought that comes into their head, so hearing the characters do so gets quite tiring.  The aging makeup is also somewhat laughable, though the sets are all well done (or just appear more interesting due to the pain caused by watching the cast).  Unfortunately, instead of coming together for a rousing climax, the film ends on a low note with a strange “20th Century Blues” montage and one of the cheesiest closing speeches in the movies.  It’s a bummer, because director Frank Lloyd‘s next Oscar darling, Mutiny on the Bounty, is so awesome, and this film is so not.  Yeah, this is one to avoid (not that it’s easy to find).

1 out of 5

Grand Hotel (1932)

“Beijing Hotel” photo by HerryLawford on Flickr

The original all-star cast film is still fairly fun, despite its age.  “People come and go; nothing ever happens”, mutters Lewis Stone‘s disfigured doctor early in the picture, and wrong he is.  John Barrymore‘s broke Baron searches for money and (only somewhat convincingly) falls for Greta Garbo‘s depressed Russian ballerina (who utters the iconic and debated line “I want to be alone”).  Meanwhile a peppy Joan Crawford is the stenographer for desperate businessman Wallace Beery, and the ever-delightful Lionel Barrymore is a terminally ill accountant intending to spend his final days living the high life.  The various subplots nicely intersect, with each character colliding with the others in a unique and fairly non-contrived way (except for Garbo and Crawford, who interestingly never appear on screen together).  The fact that the numerous headliners all give strong performances and avoid trying to control the picture also is a huge asset (though ironically this film is the only Oscar Best Picture winner to have not received a single other nomination, perhaps as a result of the abundance of big names).  All of these qualities result in a movie that is interesting, meaningful, and quite often funny all the way through.  The opening simultaneous telephone-calls sequence is a nice touch, Lionel Barrymore is just so good, and don’t forget about the great Jean Hersholt‘s fun appearance.  Furthermore, who knows, if it hadn’t done well, we might still be experiencing the “no more than two stars per picture” rule today.   A genre-builder in its format, this one is definitely worth checking out.

3 out of 5

Cimarron (1931)

“Ghost Town of Rhyolite, Nevada (6)” photo by Ken Lund on Flickr

You know, for being a dated, racist, way over-acted, old western, this film isn’t bad.  The tale of a family living in the steadily changing west moves in bursts but, despite its sometimes dated narrative techniques (Does Irene Dunn really have to introduce her whole family to the viewer at the end?  Isn’t there some mildly more subtle way of handling things?), it is entertaining.  After founding a newspaper in his steadily-growing frontier town, a reformed cowboy can’t ignore the call of the old west, leaving his formerly skittish wife to run the business and their family.  As the years go by, his visits become more random, and her status and strength steadily grow.  Richard Dix‘s high-strung cowboy is fun at the picture’s start, but his incredibly over-the-top acting and increasingly irritating character soon give way to Irene Dunn‘s more subtle, natural performance as his wife.  He represents everything a modern audience finds ridiculous in the old style of acting in a motion picture (a trait that, I’ll admit, does start off amusing but wears thin quickly), she is a glimmer of hope that actors can play normal people.  The supporting characters are generally great, despite mostly playing racial or cultural stereotypes, particularly the crazy Edna May Oliver and the calm George Stone, who gets the movie’s best line in its final minutes.  However, the depiction of Dix’s black servant Isaiah is quite problematic by today’s standards, and the whole Dixie Lee affair just feels old.  Dunn pulls the film together, though, and gently drives it through the end.  The cinematography and script aren’t bad either, despite their age.  Not for everyone, but worth a look for cinephiles.

2.5 out of 5

All Quiet on the Western Front (1930)

“Trenches, Sanctuary Wood, Ypres” photo by Anthony Dodd

Wow, I hope that I’m in this good shape when I’m in my eighties.  This film’s reputation as one of the ultimate depictions of the first World War is definitely well-earned.  The cinematography (by the brilliant Arthur Edeson, the man behind the camera for Mutiny on the Bounty, The Maltese Falcon, and Casablanca as well) and editing are both superb and perfectly capture the horror and chaos of the battlefield.  In all honestly, few war movies I’ve ever seen feel so real.  Lew Ayres is quite good as Paul, the film’s main focus, a young German who joyously goes off to war with his classmates only to watch most of them die and have his ideals crushed.  Then there’s Louis Wolheim as his tough but loyal friend Kat, the world-weary counterpoint to Paul’s innocence.  The rest of the ensemble cast is also top-notch, though they come and go and blur together after a while.  Director Lewis Milestone clearly has a feel for great sequences, since oh so many of the scenes are truly memorable.  The harrowing night in the bunker, the agony of the  military hospital, Paul’s torturous return home, the encounter with the French soldier in the hole, and of course the film’s agonizing final minutes are all brilliant.  While some say the age of anti-war movies came with Vietnam, this one stands its own against anything from that era.  A masterpiece that everyone should see.

4.5 out of 5