Category: 1930s

Dangerous (1935)

When already engaged Franchot Tone meets downtrodden actress Bette Davis, whose performance once inspired him to change careers, he offers her a helping hand which eventually leads to an offer of marriage and assistance with her floundered career. It reminds me a bit of Davis’s role in Of Human Bondage, as she admits here that she destroys everything she touches. Her character here seems a little less ruthless, that is until she cripples a man, but also capable of redemption. Those traits make for a lighter feeling film and her performance a lot less impactful.

Oscar Win: Best Actress in a Leading Role

Tokyo Chorus (1931)

In this silent Yasujirō Ozu film, married father of three Tokihiko Okada is an insurance salesman who loses his job in solidarity with a fired older co-worker. During a Depression era, his family tries to scrap by as he struggles to find a new job. Helpful surprises soon find him by way of a chance encounter with his former teacher Tatsuo Saitō. It’s very much a slice of life family drama which Ozu became so adept at, sadly made a bit difficult to watch through a subpar copy.

If You Could Only Cook (1935)

During the Depression, car designer Herbert Marshall is taking a much needed break from work when he meets unemployed Jean Arthur in a park. She automatically assumes he is also out of work and he gamely agrees to pose as a couple to acquire jobs in the household of gangster Leo Carrillo. After a recent Downton Abbey marathon, it was fun watching Marshall learn how to be a good butler from his own servant. Otherwise there’s not much that makes this essential viewing, but Jean Arthur is genuinely appealing here, as in almost all of her roles.  Comedy

Misery and Fortune of Women (1930)/Sentimental Romance (1930)

These were two shorts included in the Que Viva Mexico DVD I watched. The first is a silent film that contrasts the differing conditions between a rich woman’s and a poor woman’s experiences when abortion is illegal. I think the edit I watched could have used a bit more to clarify the stories some but it still remains a powerful testament. The second film presents a Fantasia-esque interplay between music and changing visuals. Both films offer some uncommon glimpses into the pioneering director’s work.

King of Jazz (1930)

An early sound and color film, this revue ostensibly serves as a celebration of the work of Paul Whiteman, the titular King of Jazz. Beginning with a Walter Lantz cartoon, the array of musical and comedy bits, some featuring a young Bing Crosby as a member of the Rhythm Boys, are mostly entertaining in their own right, many similar to later Busby Berkeley numbers, but it’s the visuals that are truly stunning and just took my breath away. Made with an early two-color Technicolor process which contains no blue, the film is entirely done in shades of coral, aqua, silver, and black, which all shine beautifully in the restoration on the Criterion release. The set and costume designers had a perfect eye to how these colors interacted and presented on film and it is gorgeous. Some amazing camera wizardry, such as the orchestra walking out of a suitcase carried by Whiteman, and extremely lavish set pieces just enhance the beauty.  Musical

Oscar Win: Best Art Direction

Show Boat (1936)

I had been wanting to watch this version of the musical when I was working through Paul Robeson’s filmography. I was further spurned on after reading a biography on Hattie McDaniel and from having an impending trip on the Mississippi River planned. Irene Dunne is the protagonist of the story, a teenager on her parents’ show boat who is promoted to actress after the star of the show was forced to leave because of her mixed race heritage. The film follows Dunne’s career as she, and later her daughter, becomes a famous stage actress. There’s some very weird acting on her part. I’m still not sure if some of her dancing was supposed to be sincere or farcical. I had come in to see Robeson and McDaniel and their unfortunately small supporting roles are worth it. While they’re sadly steeped in racial stereotypes, their singing and chemistry together is quite enthralling.  Musical

King for a Day (1934)/Rufus Jones for President (1933)

In King for a Day, Bill Robinson is a talented dancer who wins a musical show in a craps game. The story is charming, but the real purpose of the short seems to showcase the various performers, including Robinson himself.  Musical

In Rufus Jones for President, a bullied Sammy Davis Jr. comes crying to his mother Ethel Waters who helps him to imagine a reality where he has become President. The two leads are fantastic talents, but it’s especially great to see such a tiny little Davis dance. He looks exactly like he did 50 years later, just somewhat smaller. Both of the shorts are interesting artifacts of Black talent in the 1930s though there is sadly a bit of eye-rolling stereotyping at play.  Musical

Island of Lost Souls (1932)

An early telling of the Island of Dr. Moreau, shipwrecked Richard Arlen is stranded on the island with the good doctor, played by Charles Laughton, and a menagerie of creatures of questionable genesis. Laughton’s performance is wonderfully over the top and smarmy. He takes great delight in introducing his guest to his experiments, particularly the panther woman Kathleen Burke. While the production has a thoroughly 1930s feel, it’s definitely an elevation of the form from the make-up of the hybrids to the elaborate set designs. Overall, it’s a pretty good version of the story that was likely very influential in the future renditions.  Animals  Scifi  Horror

Young Mr. Lincoln (1939)

There is probably not a better example of tender, homey Americana than this film. Henry Fonda is the young Abraham Lincoln, beginning before he even became a lawyer to one of his early defense cases involving a murder. I wouldn’t have necessarily thought Fonda would make a good Lincoln, but I was thoroughly impressed with his portrayal. He brings an intelligent, folksy charm to the characterization, similar to what I’d expect from James Stewart, while managing to physically look similarly to the most popular images of Lincoln. The story was quite interesting in telling a lesser known part of Lincoln’s biography.

Oscar Nomination: Best Writing, Original Story

The Charge of the Light Brigade (1936)

Based on the same battle as the infamous Tennyson poem, Errol Flynn and his brother Patric Knowles are British officers stationed in India. A love triangle develops between the two brothers when Flynn’s fiancé Olivia de Havilland inexplicably falls in love with Knowles. This love story is used as the impetus for all of the military actions in the film, especially the final titular charge, and requires the viewer to ignore the chemistry between Errol and Olivia. While the similar looking Knowles is excellently cast as Flynn’s brother, he lacks the charisma and charm of the other actor.   War

Oscar Win: Best Assistant Director

Oscar Nominations: Best Sound, Recording; Best Music, Score

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