Nothing But the Truth Directed by Victor Schertzinger Written by John McGowan from a play by James Montgomery and a novel by Frederic H. Isham 1929/US Paramount Pictures IMDb page
First viewing/YouTube
E.M. Burke: Oh, you’re a smart little fellow, aren’t you?
Robert Bennett: My mother thinks I am.
E.M. Burke: You wouldn’t want to buy any of this stock yourself, would you?
Robert Bennett: Oh, I… I don’t want to change my mother’s opinion.
I saw this two weeks ago and can remember nothing about it but the barest plot outline. The definition of not essential.
Robert Bennett (Richard Dix) invests his fiancee’s money on a bet that he will not tell a lie for 24 hours. His friends are eager betters on the other side. Robert is not quite prepared for the spots his friends maneuver him into that require him to avoid the little white lies that polite society relies on.
Stills from this are few and far between. Here is Helen Kane (the voice of Betty Boop) performing.
I remember thinking this was OK but little else. Richard Dix, who I absolutely hated in Cimarron (1931), is growing on me. His “big” persona is perfect for this type of comedy.
The Great Gabbo Directed by James Cruze Written by Hugh Herbert adapted from the story by Ben Hecht 1929/US James Cruze Productions IMDb Page
Repeat viewing/YouTube
Gabbo: [Otto won’t “shut up”] Otto, if you don’t keep quiet I’ll smash you! I’ll destroy so that you won’t make another sound! Do I want to listen to you? No!
Worth watching for Erich von Stroheim. Not so much for the musical numbers.
The Great Gabbo (von Stroheim) is a cold, egotistical, but brilliant ventriloquist. His dummy’s name is Otto. Gabbo is in love with Mary (Betty Compson), a dancer in the vaudeville show he appears in. Mary is interested in someone else. But she gets along well with the kind and playful Otto. Otto is ever ready with advice to the lovelorn in the frequent conversations he has with his master.
If they could have focused the movie on von Stroheim and the love triangle, this might have been a superior movie. Unfortunately, it is marred by several musical numbers and homely chorus girls that seem to be a requirement to lure audiences in for early talkies. This film was on my 10 Favorites list for its year but will surely be knocked off the list on the next iteration, if there is one.
Framed Directed by George Archainbaud Written by Paul Schofield and Wallace Smith 1930/US RKO Radio Pictures IMDb page
First viewing/YouTube
Harry was left to ponder in silence the depths to which girls would sink to get revenge. —J. K. Rowling
Lackluster potboiler about romance and revenge gangland style.
Rose Manning (Evelyn Brent) was a sweet young thing when her father was killed in a gun battle in which a policeman was shot. Her thirst for revenge has left her hard and bitter. She hates police in general but especially despises Inspector “Butch” McArthur (William Holden – not THE William Holden).
Rose gets a job as an MC and hostess at a casino/speakeasy owned by gang boss Chuck Gaines (Ralf Harolde). Gaines is after Rose, even asking her to marry him. But Rose is interested in a young man who calls himself Jimmy Carter (Regis Toomey). When she learns he is actually the inspector’s son she sees an opportunity to get even. With Robert Emmett O’Connor playing his signature tough Irish cop.
There’s no particular reason to see this movie. I was kind of curious about Evelyn Brent but in the event she didn’t wow me.
Beggars of Life Directed by William A. Wellman Written by Benjamin Glazer from a book by Jim Tully 1928/US Paramount Famous Lasky Corporation IMDb page
First viewing/YouTube
The Boy: Ain’t it funny when you think of the millions o’ people in warm houses and feather beds, an’ us just driftin’ ’round like the clouds? But I guess it’s about even when you boil it down. Even them people in feather beds ain’t satisfied – we’re all beggars of life.
This has a lot in common with Wellman’s Wild Boys of the Road (1933) despite being made before the stock market crash and onset of the Great Depression.
As the movie begins, Nancy (Louise Brooks) is standing over the corpse of her guardian, whom she has just murdered. Shortly thereafter, hobo Jim (Richard Arlen) stops by to beg something to eat. Nancy tearfully spills out the whole story. The old man was trying to rape her. Jim reluctantly agrees to take her with him and show her the ropes of the hobo life. She dresses in boy’s clothing since the cops will be looking for a girl. She proves to be a natural at chasing after trains.
Jim’s idea had been to split up but somehow they don’t and they become a team. They camp out in hobo jungles. In one, they meet The Oklahoma Kid (Wallace Beery) who is self-appointed leader of his gang of tramps. Nobody, but nobody, believes that Nancy is a boy. When they figure out that Nancy is a fugitive, the gang wants to ditch the couple but the Kid is holding out for his time with Nancy. Can Jim protect her from this villain?
I enjoyed this. Brooks is very good in a role that does not rely on her sex appeal or winning smile. The rest of the cast is fine and Wellman keeps the film moving right along.
The Naughty Flirt Directed by Edward F. Cline Written by Richard Weil and Earl Baldwin 1930/US First National Pictures (Warner Brothers) IMDb page
First viewing/YouTube
Miss Katherine Constance ‘Kay’ Elliott: And now the prisoner takes the stand in her own defense. Listen, Alan, I have an income of a hundred thousand dollars a year, and every man I know is trying to marry it. They don’t fool me for a second. Do you blame me for fooling them? I go out a lot and I stay out late. I don’t like golf, or tennis, or horses. So what else is there for me to do? One more word before you pass sentence. I’ve always played fair, and I’ve never done a deliberately rotten thing. Now, what has the court got to say?
I couldn’t get too excited about this one.
Kay Elliot (Alice White) is the daughter of a very wealthy lawer and has substantial income of her own. She lives a wild life on the nightclub and boozy party scene. Fortune-hunter Jack Gregory is determined to marry her by fair means or foul aided by his scheming sister Linda (Myrna Loy). But Kay prefers a lawyer in her father’s firm.
There are many, many pre-Code pictures with this kind of “idiot” romcom plot that are better than this one. I did enjoy my introduction to Alice White and this early role from Myrna Loy, still in her “evil vamp” stage. . I thought Alice White was charming, if affected, and Myrna Loy had a long way to go becoming a pro in the line reading department.
Steamboat Bill, Jr. Directed by Charles Reisner (Buster Keaton uncredited) Written by Carl Harbaugh 1928/US Joseph M. Schenck Productions IMDb page
Repeat viewing/Amazon Prime (Cohen Media Channel
William ‘Steamboat Bill’ Canfield Sr.: [upon seeing Bill Jr. for the first time, to Tom] If you say what you’re thinking, I’ll strangle you!
This film is special for Buster Keaton’s awesome special effects and stunt work.
Steamboat Bill (Ernest Torrence) is the cantankerous captain of a ramshackle steamboat. His only crew is an aged first mate. A powerful banker has just bought a brand new luxury steamboat that stands to put him out of business.
At this same time, Bill gets a telegram from his son William Canfield, Jr. (Buster Keaton) saying that junior has just finished school and wants to visit his father whom he has not seen since he was a baby. Dad and first mate go to pick him up and after many misidentifications are flabbergasted at what appears. Junior is an effete, almost effeminate, little man who appears to have not a shred of common sense. Dad does what he can to make a man of the kid.
Shortly thereafter, Kitty, daughter of the banker, arrives in town. She already knows junior from college and they pick up where they left off. Both fathers disapprove violently.
The film continues on with gag after gag. A hurricane approaches town. But it’s an ill wind that blows nobody good …
The physical comedy in this is off the charts! It’s both hilarious and awe-inspiring. Chaplin may have had the edge in grace but Buster was more athletic. Highly recommended.
City Lights Directed by Charles Chaplin Written by Charles Chaplin 1931/USA Charles Chaplin Productions IMDb page
Repeat viewing/Criterion Channel
One of 1001 Movies You Must See Before You Die
The Tramp: You can see now?
A Blind Girl: Yes, I can see now.
A comic fairy tale about a little tramp’s devotion to a blind flower seller. My heart belongs to Buster Keaton but even I must acknowledge that no one anywhere ever equaled this. It is exquisite.
The movie begins with a hilarious comedy sketch which is one gag hard on the heels of another. All are quite inventive.
The Little Tramp (Chaplin) is strolling through the town picking up cigar butts and being ridiculed by bratty boys when he comes across a flower seller (credited only as “The Girl”) (Virginia Chirelle) who has set up shop in front of a rich man’s mansion. The Tramp buys a flower from her and is rapidly smitten. Through an incredible stroke of luck, simultaneously a rich man parks there and The Girl gets the impression that it is he who bought the flower.
Later that night the Tramp walks down by the river and meets An Eccentric Millionaire (hereinafter the millionaire) who is trying to commit suicide by jumping the water with a weight. After a funny and eventful rescue by Chaplin, the millionaire embraces the tramp and takes himself nightclubbing in a memorable scene. But when the millionaire is sober, he remembers nothing of his savior and friend and takes back the gifts, etc he has given him. Over and over, the two are reunited and the cycle repeats.
The tramp is able to use the millionaire’s car to pay calls on the girl. He tries to help the girl and her grandmother who believe the largesse is coming from the millionaire. He sees an ad for a miracle cure for blindness and vows to help the girl regain her sight. When the landlord comes calling for the rent, the tramp vows to pay it. But he hasn’t got a cent and so has to find some employment.
First, he is a streetsweeper who makes one too many mistakes then he is enlisted to box and lose to man who will split the purse with him. Fate is not kind to him, however, as the original boxer has to take it on the lam and the replacement is playing winner take all. dThen follows the fantastic and wonderfully choreographed boxing match.
The millionaire returns from a European vacation. He and the tramp are reunited at an opportune moment and a wild outageous homecoming party follows. He gives his friend $1,000 to help the girl. When the two return to the mansion, a burglary is in progress. The burglars rob the millionaire and the tramp and get away before the police arrive. The millionaire has been hit over the head and now can’t remember giving him the money. Charlie escapes pursued by the cops. He manages to get to the girl’s house in time to give her the money. I’ll stop here.
Wow, that was a long summary, but I adore this movie and have it practically memorized. This is my absolute favorite Chaplin film. If he hadn’t been a comic, he would have been a great dancer. He moves with such subtlety and grace. And so amazing that the same man produced, directed, wrote, starred and wrote the musical score. He was some kind of a genius, I guess. If you die without seeing this one, you will be poorer for it.
A master class in film making in 4 minutes and 7 seconds
Laughter Directed by Harry d’Abbadie d’Arrast Written by Douglas Z. Doty and Harry d’Abbadie d’Arrast 1930/US Paramount Pictures IMDb page
First viewing/YouTube
From quiet homes and first beginning, out to the undiscovered ends, there’s nothing worth the wear of winning, but laughter and the love of friends. — Hilaire Belloc
Watchable pre-Code romance features early performances by some Golden Age stars.
Peggy (Nancy Carroll) was a chorus girl and lived the carefree highlife. She had a relationship with composer Paul Lockridge (Fredric March) before he left for Paris. She forgoes her freedom for a life of luxury with much older millionaire C. Mortimer Gibson and they marry.
A few years pass. Gibson’s daughter Marjorie comes home from college and he puts her under Peggy’s care. The two women are almost the same age and Marjorie aspires to the kind of carefree life Peggy once had. Paul comes back from Paris determined to steal Peggy back from Gibson, distracting Peggy from her step-motherly duties. Marjorie falls for a starving artist and gets her picture in the paper. The appearance of Paul causes Peggy to disappoint Gibson in many ways, though the old man always seems willing to take her back.
It’s a pleasant light pre-Code romance with some good acting. Not something that is likely to stick in my mind but watchable.
Private Lives Directed by Sidney Franklin Written by Hans Kraly and Richard Schayer from a play by Noel Coward 1931/US Metro-Goldwyn-Mayer IMDb page
First viewing/Amazon Prime rental
Amanda: I think very few people are completely normal really, deep down in their private lives. It all depends on a combination of circumstances. If all the various cosmic thingummys fuse at the same moment, and the right spark is struck, there’s no knowing what one mightn’t do. That was the trouble with Elyot and me, we were like two violent acids bubbling about in a nasty little matrimonial bottle.
MGM glamor meets Noel Coward in this solid early screwball comedy.
The setting is among the cosmopolitan young and wealthy. Amanda Prynne (Norma Shearer) and Elyot Chase (Robert Montgomery) were formerly Mr. and Mrs. Chase. They had a tumultuous passionate marriage that lasted three years. Constant bickering and even mutual combat did them in. Now they are divorced and have remarried. Amanda is with Victor Prynne (Reginald Denny) and Elyot is with Sybil (Una Merkel). Both new spouses constantly want to be reassured and are pretty boring.
As fate would have it, the two couples have booked romantic honeymoon suites next to each other on the French Riviera. It doesn’t take long before Elyot and Amanda hook up again and leave their new partners in the lurch. But can this new pairing overcome the differences that made them divorce in the first place?
This is a charmingly sophisticated movie with a preposterous plot. It’s a sort of proto-screwball comedy. The dialogue and acting is spot on. Recommended.
The Public Enemy Directed by William A. Wellman Written by Kubec Glasmon, John Bright and Harvey Thew 1931/US Warner Bros. IMDb page
Repeat viewing/Amazon Prime Rental
Tom Powers: I ain’t so tough.
This gangland classic introduced the world to the force of nature that was James Cagney.
Tom Powers (Cagney) and Matt Doyle (Edward Woods) are partners in crime, who got started with petty thefts while they were still kids. They participate in an unsuccessful bank robbery. Their life of crime becomes really lucrative with the advent of Prohibition. Tom’s brother and Matt’s sister strongly disapprove but neither of the boys care what they think.
Tom and Matt are more enforcers than crime lords but are making enough loot to attract women who are willing to play around. Tom first lands Kitty (Mae Clarke) and they shack up together but he tires of her pretty fast. Then he seduces the glamorous Gwen Allen (Jean Harlow). But you know what they say about people who live by the sword … Tom’s cockiness doesn’t help any.
This is an classic early gangster film with plenty of violence. But it is Cagney that steals every scene he is in, which is most of them. His energy and physicality were seldom equaled in movie history. Iconic and recommended.
Louise Brooks turned down the role played by Jean Harlow, sealing her fate as Hollywood poison.
The Public Enemy was Oscar-nominated for Best Writing, Original Story.
As fate would have it, the two couples have booked romantic honeymoon suites next to each other on the French Riviera. It doesn’t take long before Elyot and Amanda hook up again and leave their new partners in the lurch. But can this new pairing overcome the differences that made them divorce in the first place?
