Category Archives: 1931

Millie (1931)

Millie
Directed by John Francis Dillon
Written by Charles Kenyon and Ralph Murphy from a novel by Donald Henderson Clarke
1931/US
RKO Radio Pictures
IMDb page
First viewing/Amazon Prime (free to Members)

Millie Blake: I can’t afford to go out nights.
Helen Riley: Well, you certainly can’t afford to stay home nights. Not at this stage in the game

In this movie, pre-Code shenanigans are mixed with melodrama and a strong cast.

Helen Twelvetrees plays the title character, a girl all the small town high school boys are crazy about. She protects her virtue fiercely. Then wealthy businessman Jack Maitland (James Hall) asks her to marry him and she accepts. They move to New York City. Three years later she has an adorable little girl and James is spending more and more time away from her on “business”.

Angie Wickerstaff (Joan Blondell), a friend from back home, calls Millie and wants to see her.  Blondell’s co-conspirator in gold-digging is Helen Riley (Lilyan Tashman).  The roommates are short on rent money, They take Millie out to a speakeasy where she sees Jack dancing and romancing another woman. She drops him like a hot potato, loses her daughter, refuses to take any of his money, and makes a success of herself through hard work.

Millie continues to attract the attention of many men but the only one that respects her is Tommy Rock (Robert Ames), a newspaper reporter. They date for years. When she discovers Tommy also has a girlfriend on the side, she dumps him and goes on a downhill slide into the hard-drinking partying of Angie and Helen. Finally, an incident causes Millie to snap and a courtroom drama ensues.  With John Halliday as a would-be sugar daddy.

This is a very ok movie and kept my attention for the entire 85 minutes of its run time. Blondell looks so young! I loved Twelvetrees and Tashman in other movies and they are both in top form here. If the plot appeals, I can recommend it.

 

The Neighbor’s Wife and Mine (1931)

The Neighbor’s Wife and Mine (Madamu to nyobo)
Directed by Heinosuke Gosho
Written by Akira Fushimi and Komatsu Kitamura
1931/Japan
Shochiku
IMDb page
First viewing/Criterion Channel

“A hammer made of deadlines is the surest tool for crushing writer’s block.” ― Ryan Lilly

This broad comedy turned out to be charming and a lot of fun.

A playwright rents a house in the country where he will live with his wife (the fantastic Kinuyo Tanaka) and two young children. They are a “traditional” Japanese family. The wife is constantly nagging him to get to work on his play which has a rapidly impending deadline. They really need the money.

Instead he plays mahjong with his buddies and complains about noise distractions. As time grows short he has a new sort of irritation. The next door neighbors have a jazz band in rehearsal non-stop. When he goes to complain, he becomes reacquainted with the very modern attractive singer and joins in the fun. One of the songs recommends “speed” and he finally gets to work.

This was the first all-sound Japanese film. I thought it was interesting how much American influence there was. You see this in Ozu films of the same period as well. In this one, the protagonist sings “Lullaby of Broadway” and “My Blue Heaven”! And to think so soon we would be at war. It’s less than an hour long. I thought it was heading in the wrong direction comic fight between the playwright and a painter that lasted way too long but once the story proper started I was enchanted. Recommended.

 

Rich and Strange (1931)

Rich and Strange (AKA “East of Shanghai”)
Directed by Alfred Hitchcock
Written by Alfred Hitchcock, Alma Reville and Val Valentine from a novel by Dale Collins
1931/UK
British International Pictures
IMDb page
Repeat viewing/YouTube

Emily Hill: Love is a very difficult business, Mr. Gordon… You’d be surprised. It makes everything difficult and dangerous… You know, i don’t think love makes people brave like it says in books… I think it makes them timid. I think it makes them frightened when they’re happy and sadder when they’re sad… You see, everything’s multiplied by two… sickness, death, the future.

I don’t think Hitchcock ever made a good non-suspense comedy. Certainly, this isn’t one though it has its points.

Fred Hill (Henry Kendall) works a boring job in the City of London. Furthermore he is having a very bad day. His wife Emily (Joan Barry) stays at home and is currently sewing her own dress. Fred is extremely fed up and seems to want to depress Emily as well. The couple think the knock on the door will be yet another bill. Instead, it is a letter from Fred’s uncle saying he has decided to give Fred his inheritance now so Fred can sample the high life.

The couple book a round-the-world luxury cruise.

Fred rapidly succumbs to the charms of a Princess (Betty Amman) and pretty much ignores his wife thereafter.  Emily is courted by a Commander (Percy Marmont).  She remains loyal to Fred however.

Further developments will make the two yearn for their flat in London.

There are some good visuals in this, particularly the opening montage showing Fred dwarfed by the crowd in London.  And the rest of the filmmaking is fine, I guess. But it’s inferior Hitchcock.

Street Scene (1931)

Street Scene
Directed by King Vidor
Written by Elmer Rice from his play
1931/US
The Samuel Goldwyn Company
IMDb Page
First viewing/YouTube

Mrs. Anna Maurrant: I often think it’s a shame that people don’t seem able to live together in peace and quiet without making each other miserable.

Excellent adaptation of the stage play.

The action takes place on the stoop of a tenement in Hell’s Kitchen, New York City on a very hot summer day. The multi-ethnic occupants spend most of their time indulging in spiteful gossip when their neighbo/victim is not around. Beulah Bondi plays the nastiest of these women.

The story proper centers on the troubles of the Maurrant family. Father Maurrant (David Landau) is a mean and controlling bully. His wife Anna (Estelle Taylor) is having an affair with the milkman. Daughter Rose (Sylvia Sidney) is just about to fall in love with her Jewish neighbor.

This movie is absolutely stage-bound and it makes no difference. Vidor does an amazing job maintaining visual interest. The acting is first-rate and I always love Sylvia Sidney. Recommended.

https://www.youtube.com/watch?v=dxlqqIDgsfM

 

Freaks (1932)

Freaks
Directed by Tod Browning
Written by Willis Goldbeck and Leon Gordon suggested by “Spurs”, a story by Tod Robins
1932/US
Metro-Goldwyn-Mayer
IMDb page
Repeat viewing/Amazon Prime rental
One of 1001 Movies You Must See Before You Die

Cleopatra: You dirty, slimy, freaks! Freaks, freaks, freaks! You fools! Make me one of you, will you?

 

On the one hand, this is certainly a powerful film.  On the other hand, it leaves me feeling kind of dirty.

The film is mostly taken up with slice of life views of the backstage goings on of a variety of circus sideshow “freaks”.  In addition, there are two plot lines.  In the first, a midget (Hans Eiler) becomes obsessed with a beautiful full-sized trapeze artist (Olga Baclanova).  She finds out he has a large inheritance and plots with her strong man boyfriend to marry him and murder him for his money.  The freaks exact a cruel revenge.

The second concerns the budding romance before Phrodo the clown (Wallace Ford) and Venus (Leila Hyams), who has been dumped by the aforementioned strong man.  Both these characters treat the “freaks” with kindness and humanity.

I may never sort out my reaction to this. The wedding banquet scene and the revenge sequence are powerful film making by any standard. On the one hand, the presentation of the deformed performers is unashamed and human. On the other hand, the whole thing is fundamentally exploitative and disturbing.  There is a perverse interest in how these people have sex which is pretty icky.  So much so that exploitation king Dwain
Esper re-released it for his target auditence.  Despite it all, this is probably essential.

Fighting Caravans (1931)

Fighting Caravans
Directed by Otto Brower and David Burton
Written by Edward E Paramore Jr et al from a novel by Zane Grey
1931/US
Paramount Pictures
IMDb page
Repeat viewing/Amazon Prime (free to members)

Clint Belmet: I’m asking you a question and the answer can’t be maybe. I’m asking you straight out – will you marry? Yes or no?
Felice: Oui, Monsieur!
Clint Belmet: Huh?

Not much of a Western, but its leads were never more gorgeous.

During the Amercian Civil War use of the railroad was restricted to supplying the troops. Caravans of wagons carried freight to California along with some settlers. As the story begins young Indian Scout Clint Belment (Gary Cooper) is locked up in the pokey just as one such caravan is getting ready to leave.  Felice (Lili Dalmity), a single French woman, is intent on joining the caravan.

Belment’s drunken comic relief pals get the idea to spring their boy by telling the authorities Clint has married Felice.  They tell Felice that the wagon train will not allow an unmarried woman to travel with them.  Both agree to the ruse.  But the plan backfires and the two drunks spend the rest of the movie trying to keep their charge from falling in love with his “wife”.

The film could have been more exciting with more action and less romance and comic relief. It’s a pretty routine Western but I was interested to see Dalmita who looks like she is out of a much later decade than the ’30’s. And of course Cooper is young and gorgeous.

Behind Office Doors (1931)

Behind Office Doors
Directed by Melville W. Brown
Written by Carey Wilson from “Private Secretary” by Alan Schultz
1931/US
RKO Radio Pictures
IMDb page
First viewing/Amazon Prime rental

Mary Linden: Well, what a sap I’ve been!

A lackluster film with a heaping helping of sexism to boot.

Executive secretary Mary Linden (Mary Astor) is the brains behind a successful pulp and paper company. She is secretly sweet on junior executive James Duneen (Robert Ames). When her elderly employer retires she suggests James for the job. He gets it and she continues sharing her very good ideas and judgement to help him succeed.  He also demonstrates that he is a complete cad with women, taking Mary for granted.  This just makes Mary want him more, despite the fact that the infinitely more appealing married millionaire Ronnie Wales (Ricardo Cortez) is after her as well.

Executive secretary and bimbo employed to work with her show off their legs. Is this the most sexist pre-Code movie ever?

Let’s just say that this was one of those movies that I watched while yelling at my TV. And not in a good way. I did not enjoy watching Mary Astor suffer nor did I understand why she should. Nor is it a very good movie in any way. I watched on Amazon Prime for free. The print is terrible but the price was right.  There are also several full-length versions currently on YouTube.

Mary Astor tribute

Tokyo Chorus (1931)

Tokyo Chorus (Tokyo no korasu)
Directed by Yasujiro Ozu
Written by Komatsu Kitamuro and Yasujiro Ozu
1931/Japan
Shochiku
IMDb page
Repeat viewing/Criterion Channel

Shinji Okajima: A drowning man will clutch at straws.

Excellent early silent from my favorite director Yasujiro Ozu.

This silent comedy looks at the ups and downs of a middle class Japanese family during the Depression. Father had been looking forward to a bonus and promised his son a bicycle.  Before he can buy one, he is fired for sticking up for another employee.  A wooden scooter is not a substitute for a bicycle in his son’s eyes.  Father is a college graduate making him overqualified for most jobs.  When Father learns a little humility, he finds help comes from a most unexpected direction.

The film ranges from slapstick to poignancy and everything in between as it captures the experience of children and parents when they face challenges together. There is a moment when the family has reached its lowest ebb and the parents are playing a pat-a-cake game with the children. The husband and wife simply look at each other without saying a word or emoting very much. You can see all the genius that Ozu would develop in that one moment. Highly recommended.

https://www.youtube.com/watch?v=I2STlXeSq34

The Smiling Lieutenant (1932)

The Smiling Lieutenant
Directed by Ernst Lubitsch
Written by Ernst Vajda and Samuel Raphelson
1932/US
Paramount Pictures
IMDb page
Repeat viewing/my DVD collection

Lieutenant Niki: When we like someone, we smile. But when we want to do something about it, we wink.

This musical comedy is pure naughty fun simply dripping with the Lubitsch touch.

A bon vivant Viennese Lieutenant (Maurice Chevalier) starts a new romance with violinist Fritzi (Claudette Colbert). The affair ends all too quickly when dowdy Princess Anna (Miriam Hopkins) believes a wink aimed at the violinist was meant for her. He has to choose between marriage or court martial for his indiscretion.  He chooses marriage and moves to her equally dreary country of Flausenthurm.

He refuses to consumate the marriage however.  In the meantime, Fritzi takes her all-girl band on tour to Flausenthurm and takes up with Niki where she left off.  Eventually she goes to the Palace and gives Princess Anna the advice she will need to seduce Niki in the song “Jazz Up Your Lingerie”.

I just love this movie.  I’m not always a Hopkins fan but she is always superb in comedies and this is no exception.  I can’t find a single fault.  Highly recommended.

The Smiling Lieutenant was nominated for a Best Picture Oscar.

 

A nous la liberte (1931)

A nous la liberte (Freedom Forever!)
Directed by Rene Clair
Written by Rene Clair
1931/France
Films Sonores Tobis
IMDb page
Repeat viewing/Criterion Channel
One of 1001 Movies You Must See Before You Die

[Voice over Singer]: Liberty is the happy man’s due / He enjoys love and skies of blue / But then there are some / Who no worse crimes have done / It’s the sad story we tell / From a prison cell

As usual during this part of Clair’s career, he has made a sound movie with very little dialogue but plenty of singing and noises. This one might be his best.

Two cellmates, Henri Marchand and Raymond Cordy, work on the prison assembly line making toy horses. When they try to execute their escape attempt Henri is left behind and distacts the guards from pursuing Raymond. Raymond makes it to town, cleverly gains a suit of clothes, and starts from the bottom as a street vendor of gramaphone records. Raymond prospers more and more as time passes and currently owns a gigantic gramaphone factory. His employees work with military precision on an assembly line not so different from the one at the prison.  Raymond becomes accustomed to formal dining and absolute deference.

Henri succeeds in his second escape. He is attracted to the factory by a young beauty he watched while gazing out his cell window. After some adventures he spots Raymond and expects him to greet him as a brother. Raymond, fearing exposure, tries to buy him off. No deal. He threatens him with a gun but cannot shoot him.  Finally, they renew their connection and Raymond accepts Henri as his dear friend. Henri creates chaos in the factory culminating in the fantastic penultimate scene of the film.

This is a scathing social satire exposing the evils of capitalism.  It is also a complete delight.  The industrial design of the sets is absolutely wonderful.  Recommended.

Lazere  Meerson was nominated for the Best Art Direction Oscar, making A nous la liberte the first foreign-language film to be nominated.

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I’m still watching a film a day but am way behind in my reviewing.  Coming up are Lady Killer, The Smiling Lieutenant, and One Hour with You.

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