Monthly Archives: July 2013

Favorite Films of 1935

Posted on July 24, 2013 | 2 comments

I watched 51 films that were released in 1935.  A complete list can be found here: http://www.imdb.com/list/ZGW4DN5ryag/?publish=save.  I enjoyed lots and lots of them, but these were my very favorites:

1.  Top Hat (Mark Sandrich):  This is officially my favorite Astaire/Rogers film, at least until I am watching the next one.

Top Hat 2

2.  Ruggles of Red Gap (Leo McCarey):  This seldom mentioned treasure is one of the reasons I keep watching these old movies! It has a perfect cast, a wonderful script, and is expertly directed by Leo McCarey.

Ruggles of Red Gap 1

3.  The 39 Steps (Alfred Hitchcock):  I prefer The Lady Vanishes among Hitchcock’s British films, but this ranks just behind it. It remains a witty and stylish suspense thriller.

THE THIRTY NINE STEPS

4.  An Inn in Tokyo (Yasujiro Ozu):  This is Ozu’s last silent film and one of his best. It has been compared to The Bicycle Thieves in its focus on the effects of poverty on human dignity, but is much more wryly humorous than the Italian film.

Inn in Tokyo 1

5.  Mutiny on the Bounty (Frank Lloyd):  A highly enjoyable adventure with one of Charles Laughton’s very best performances.

Mutiny on the Bounty 1

6.  The Bride of Frankenstein (James Whale):  I have fun every time I come back to this classic.

bride of frankenstein

7.  Crime and Punishment (Josef von Sternberg):  I’m so glad I was able to find this unsung gem containing one of Peter Lorre’s most complete characterizations.

Crime and Punishment 1

8.  The Good Fairy (William Wyler):  Preston Sturges’ script and wonderful performances by Margaret Sullavan and Herbert Marshall make this romantic comedy special.

The Good Fairy 1935

9.  The Lives of a Bengal Lancer (Henry Hathaway):  This rollicking adventure celebrates friendship, honor and loyalty under fire in British India.

Lives of a Bengal Lancer

10.  The Wedding Night (King Vidor):  This is a refreshingly different romance with one of Gary Cooper’s best performances.

Wedding Night

 

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Princess Tam-Tam (1935)

Posted on July 24, 2013 | 2 comments

Princess Tam-Tam
Edmond T. Gréville
1935/France
Productions Arys
First viewing

 

[box] “. . . I improvised, crazed by the music. . . . Even my teeth and eyes burned with fever. Each time I leaped I seemed to touch the sky and when I regained earth it seemed to be mine alone.” — Josephine Baker [/box]

I enjoyed Josephine Baker’s performance in this otherwise lackluster movie.

Max is a celebrated novelist suffering from writer’s block who is being nagged at ceaselessly by his wife.  He and his partner decide to escape to Tunisia for inspiration and respite.  There they meet the beggar Alwina (Josephine Baker).  They take the “wild” free-spirited woman into their villa where they begin to “civilize” her.  Meanwhile, Max’s wife has begun a flirtation with a maharaja in Paris.  Max introduces to Alwina to Parisian society as Princess Tam-Tam to make his wife jealous.  But Alwina can’t resist the urge to dance whenever drums begin to beat …

Josephine Baker sings two songs beautifully and has a couple of dance numbers.  The last of these is as part of a relatively clunky Busby Berkeley-esque routine.  These musical interludes are the main reasons to watch.  The actors never catch fire and the story is pretty silly.

Clip – “Ahé!  la Conga”

 

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Modern Times (1936)

Posted on July 23, 2013 | 4 comments

Modern Times
Directed by Charles Chaplin
1936/USA
Charles Chaplin Productions
Repeat viewing
#95 of 1001 Movies You Must See Before You Die

 

[box] A gamin: [Last lines] What’s the use of trying? A factory worker: Buck up – never say die. We’ll get along.[/box]

Chaplin and his Little Tramp fight the Great Depression in this masterpiece.

A Factory Worker (Charles Chaplin) is driven to madness by his job on the assembly line. After stints in the hospital and jail, Chaplin attempts to rescue a Gamin (Paulette Goddard) who is caught stealing a loaf of bread.  The two set up a kind of housekeeping, battle authorities, and walk off into the sunset.

This was the first and last time the Little Tramp’s voice was heard.  I think it is so fitting that his one song with words is in no language or any language.  After all, he belonged to the whole world.  The delights of this movie are too many to mention.  I think Chaplin’s great talents were as a mime and a kind of dancer and this film shows them off to the full. It’s too bad he didn’t go on making semi-silent films.  In my opinion, all his subsequent work suffers in the dialogue sections, mostly from preachiness.

Clip – conclusion

 

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Dodsworth (1936)

Posted on July 22, 2013 | 8 comments

DodsworthDodsworth Poster
Directed by William Wyler
1936/USA
The Samuel Goldwyn Company
Repeat viewing
#101 of 1001 Movies You Must See Before You Die

 

Sam Dodsworth: Love has got to stop some place short of suicide.

This intelligent drama is one of my favorite movies of any time.  I always forget just how much I love it until I see it again.

Sam Dodsworth (Walter Huston) has made a fortune as an automobile tycoon.  He retires and his somewhat younger wife Fran (Ruth Chatterton) has her heart set on beginning life over on a long European holiday.  Sam plunges into playing tourist but Fran is more interested in putting on airs, hobnobbing with people she thinks are “society”, and proving her continued desirability to men.  Sam loves Fran dearly but clearly this state of affairs cannot continue indefinitely.  When Fran decides to throw in with a young Austrian baron, Sam finds solace with expatriate Edith Cortright (Mary Astor).  With Maria Ouspenskaya as the baron’s mother and David Niven and Paul Lukas as two of Fran’s “conquests.”

Dodsworth 1

This is a fairly straightforward domestic drama but it is richly rewarding.  There is an undercurrent that explores the differences between manners in the Old and New Worlds, with the New World coming off pretty well for a change.  It is also one of the few movies of the Golden Age to explore the breakdown of a long marriage.  The acting is all brilliant.  I don’t think Ruth Chatterton gets enough credit.  Her role is unsympathetic and fairly ridiculous. It must have been difficult to play a deluded woman past her prime but she gave it her all.  I don’t think Mary Astor was ever more beautiful than in this picture.  I always root for her Edith — she is so smart and sensible.  Highly recommended.

Dodsworth was nominated for seven Academy Awards, including for Best Picture, and won for Best Art Direction.  In 1990, it was selected for preservation in the United States National Film Registry.


Clip

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Camille (1936)

Posted on July 22, 2013 | 10 comments

Camille
Directed by George Cukor
1936/USA
Metro-Goldwyn-Mayer
First viewing
#99 of 1001 Films You Must See Before You Die

 

[box] Marguerite: When one may not have long to live, why shouldn’t one have fancies?[/box]

I wasn’t particularly looking forward to this but it won me over almost immediately.  I wonder whether Garbo was ever lovelier or more appealing than in MGM’s glossy adaptation of the La Traviata story.

Marguerite Gautier (Greta Garbo) is a carefree Parisian courtesan, trading on her beauty to live an extravagant lifestyle between bouts of consumption.  One night at the theater, dressmaker Prudence (Laura Hope Crewes – Aunt Pittipat in Gone with the Wind) introduces her to fabulously wealthy Baron de Varville (Alan Mowbray) who can keep her well supplied with gowns and jewels.  At the same time, Marguerite is coincidentally introduced to Armand (Robert Taylor), an adoring young lawyer.  Marguerite starts a liaison with the Baron but her path crosses that of Armand repeatedly.  Finally, Marguerite falls hopelessly in love with Armand and accompanies him for some idyllic weeks in the country.  She must decide between Armand’s long-term prospects and her own happiness when Armand’s father (Lionel Barrymore) comes to beg her to leave his son.  With Jessie Ralph as Marguerite’s faithful maid.

 I am often quite resistant to Garbo’s acting but she captivated me here.  The gorgeous gowns only accentuated her stunning beauty and her smile was all the acting chops she really needed.  This movie also benefitted by an outstanding supporting cast, lavish set decoration, and beautiful score.  I think if the leading man had been a tad bit more sympatico – not that Taylor was bad – this film would have been just about perfect for the type of film it is.  As it was, I had tears in my eyes at the end.  Quite an achievement for Cukor.

Clip – second meeting

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Things to Come (1936)

Posted on July 21, 2013 | 5 comments

Things to Come
Directed by William Cameron Menzies
1936/UK
London Film Productions
First viewing
#102 of 1001 Movies You Must See Before You Die

 

[box] Raymond Passworthy: Oh, God, is there ever to be any age of happiness? Is there never to be any rest?[/box]

I have mixed feelings about this lavish but heavy-handed anti-war science fiction yarn.

The story begins in Everytown (evidently London) at Christmas, 1940.  The population is blithely celebrating while the headlines scream warnings of war and John Cabal (Raymond Massey) worries that another war will destroy civilization.  Suddenly the air raid sirens go off and an unprovoked aerial bombardment and gas attack of the city begins.  The enemy is unnamed.

A montage follows the war through its conclusion in 1966.  By 1970, the people of Everytown are living in medieval conditions.  A plague spread by enemy bombs causes a fatal contagious “Wandering Sickness” to break out.  A man becomes The Boss (Ralph Richardson) by insisting that sufferers be shot.  He consolidates power by continuing war against his neighbors.

John Cabal has gone on to become the leader of a technocracy in the Mediterranean called Wings of the World.  Cabal visits Everytown in his modern airplane, vowing to “cleanup” the city if it does not forsake war.  The Boss imprisons him.  The Boss cannot conceive of the might of Cabal’s organization or its “peace gas.”

Fast forward to 2036, when people live in sleek underground cities and prepare for space travel.  Scientists must still face the forces of reaction and jingoism in the form of Theotocopulos (Cedric Hardwicke) who incites the masses to revolt against any further progress.

Director Menzies was much better known as an art director and the design of this film (by Vincent Korda) is certainly striking.  His work with actors was not as successful.  Much of H.G. Wells’s dialogue sounds like it is being read from a book of speeches and the usually reliable Massey and Hardwicke are not able to do much with it.  Only Richardson manages to bring life to his character.  His Boss is a foolish bombastic bully and a lot of fun.

As usual with H.G. Wells’s material, I had a hard time following the logic.  This is supposed to be an anti-war story and yet the beginning of the war in the film would seem to be an argument for a strong army of defense.  “Peace gas” also seems oxymoronic.

This is a unique film and prescient of the catastrophe that was to overtake Europe a year earlier than predicted by the story.  I’m glad I saw it but I don’t see any reason to revisit it.

http://www.youtube.com/watch?v=b1w3dpKBuVw

Trailer

 

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The Crime of Monsieur Lange (1936)

Posted on July 21, 2013 | Leave a comment

The Crime of Monsieur Lange (“Le crime de Monsieur Lange”)
Directed by Jean Renoir
1936/France
Films Óberon
Repeat viewing

 

[box] “A director makes only one movie in his life. Then he breaks it up and makes it again.” ― Jean Renoir[/box]

Jean Renoir made three films in 1936.  This one is a well-acted political piece with witty dialogue by the great Jacques Prévert, better known for his work with Marcel Carne, including in Children of Paradise.

It is 1901.  Hapless Amédéé Lange (René Lefévre – Le Million) and his girlfriend Valentine (Florelle) are taken to an inn near the Belgian border, which they hope to cross in the morning.  The patrons of the inn soon recognize Lange as a wanted murderer.  Valentine says they can turn him in if they still want to after hearing his story.

Lange worked for a debt-ridden publishing house owned by the crooked, lecherous Batala (Jules Berry).  In his spare time, he wrote a kind of Western/fantasy serial called “Arizona Jim”.  Batala tricks Lange into signing over the rights and then uses the serial to advertise a quack medicine.  Batala also leeches money from anyone gullible enough to give it to him and seduces and/or rapes innocent girls.

Finally Batala’s debts catch up with him and he feels forced to leave town.  He is believed dead after a train wreck that left many unidentifiable victims.  The workers at the publishing house form a cooperative with the support of an idealistic creditor.  “Arizona Jim” is a big hit and everyone is happy.  Then Batala reappears on the scene.

The movie is directed with a very light hand despite its heavy sounding plot.  It is clearly a polemic in support of a worker’s revolution, however.  So some of the subtlety and humanism characteristic of Renoir is absent in order to make its villain thoroughly bad. Nonetheless, I would rate this in the top tier of Renoir’s films.  The dialogue is thoroughly enjoyable and the acting is very good, particularly that of Berry who makes a charming but despicable villain.

The film is not easily available on DVD in the U.S.  I watched it on Amazon Watch Instant.

 

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Libeled Lady (1936)

Posted on July 20, 2013 | 2 comments

Libeled Lady
Directed by Jack Conway
1936/USA
Metro-Goldwyn-Mayer
Repeat viewing

 

[box] Warren Haggerty: Gladys, do you want me to kill myself?

Gladys: Did you change your insurance?[/box]

Four of MGM’s biggest stars shine in this newspaper comedy.

Managing editor Haggerty (Spencer Tracy) stands up his fiancée Gladys (Jean Harlow) at the altar for the umpteenth time when he finds out Constance Allenbury (Myrna Loy) is suing the paper for $5 million for libel.  Unable to talk Constance or her father (Walter Connelly) out of suing, Haggerty plots to bring Bill Chandler (William Powell), famed libel fighter, to his rescue.  The idea is that Bill will marry Gladys and then put Constance in a compromising position in which she can truthfully be accused of alienation of affections. The only problem is that Bill is perhaps more of a charmer than Haggerty had reckoned with …

This movie is just as fun as the cast makes it sound.  All are in top form and Powell is particularly good.  He shows some talent at doing slapstick in the fishing scenes.  It’s also nice to see Powell and Loy at the beginning stages of a relationship for a change.  Powell was dating Harlow at the time the picture was made and I thought I saw true love in her eyes in some scenes. Recommended.

http://www.youtube.com/watch?v=JI-eY-bU9qg

Trailer

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My Man Godfrey (1936)

Posted on July 20, 2013 | 11 comments

My Man GodfreyMy Man Godfrey Poster
Directed by Gregory La Cava
1936/USA
Universal Pictures
Repeat viewing
#97 of 1001 Movies You Must See Before You Die

 

Alexander Bullock: All you need to start an asylum is an empty room and the right kind of people.

 

This wacky comedy still makes me laugh out loud after numerous viewings.

The wealthy Bullock family is full of eccentrics.  The females of the group are participating in a scavenger hunt in which they must bring back a “forgotten man”.  Cornelia Bullock (Gail Patrick) takes the search to a city dump where she offers a tramp named Godfrey (William Powell) $5 to be her prize.  He refuses and pushes her into an ash heap.  Nutty sister Irene (Carole Lombard) chats Godfrey up and he agrees to go with her.  This leads to the smitten Irene inviting Godfrey to be the family’s butler and her protegé.  Mass hilarity ensues.  With Eugene Palette as Alexander Bullock, the father; Alice Brady as Angelica Bullock, the mother; and Mischa Auer as Angelica’s protegé.

My Man Godfrey 2

I don’t think any of the cast members involved ever did better work.  Powell and Lombard were nominated for Best Actor and Actress Oscars and Brady and Auer were nominated for Best Supporting Actor and Actress – the first time a film was nominated for acting awards in all four categories and the only time such a film failed to win an award.

I can imagine that the comedy might be over the top for some but I love it.  Once again, the part where Auer imitates an ape to cheer Lombard up had me howling.  Eugene Palette is also fantastic as the harassed pater familias.  Patrick makes a great villainess.  Powell and Lombard had been married and were now apparently amicably divorced as Powell insisted Lombard was the only actress to play the part of Irene.  The chemistry between the two is certainly there in spades.

Clip – the scavenger hunt

 

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Posted in 1001 Movies You Must See Before You Die, 1936

Swing Time (1936)

Posted on July 20, 2013 | 5 comments

Swing Time
Directed by George Stevens
1936/USA
Radio Pictures
Repeat viewing
#96 of 1001 Movies You Must See Before You Die

 

[box] John “Lucky” Garnett: Now, eh… how did you say that last step went? Eh… oh, yes![/box]

This might not be my favorite of the Astaire/Rogers films in terms of the comedy and story but it does have some of the best dance routines and wonderful standards by Jerome Kern.

John “Lucky” Garnett (Fred Astaire) is a hoofer who makes most of his money at the gambling table.  He is tricked by Pop Cardetti (Victor Moore) and the rest of his vaudeville team into missing his own wedding.  The bride’s angry father finally agrees to reconsider the union if Lucky returns with $25,000.  So Lucky and Pop hop a freight train to New York.

Lucky almost immediately runs into dance instructress Penny (Ginger Rogers) and through a number of misunderstanding infuriates her.  But this turns to love once they are in each other’s arms on the dance floor.  Pop and Penny’s pal Mabel (Helen Broderick) also become chummy. Can love triumph through the many obstacles this plot presents for the dancing duo?  With Eric Blore as the owner of the dance studio, Betty Furness as Lucky’s fiancée, and Georges Mexata as a pompous band leader who is in love with Penny.

This is the film in which Ginger Rogers is allowed to love Fred back and might be her best performance in one of their pictures.  Her yearning in the scene before she sings “A Fine Romance” is palpable.  The movie also features the iconic “The Way You Look Tonight” sung by Astaire while Rogers is shampooing her hair and a really fun routine set to “Pick Yourself Up.”  None of my regular readers will be surprised that I come back to this again and again despite the half hour of danceless, silly scenes at the beginning.

Despite the brilliance of the tapping in Astaire’s blackface “Bojangles in Harlem” number, I have never understood why a living and working artist, Bill “Bojangles” Robinson, needed this “tribute”.  While I can cut the times some slack, I just find the whole thing extremely odd.

http://www.youtube.com/watch?v=Vlvp8PUnC2Y

Dance – “Waltz in Swing Time”

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