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Reviews
Mr. Lucky (1943)
Really one of the best films I've seen.
I was literally on the edge of my seat in some bits just taken up by the drama of it all. The father reading the letter in the church--I could almost visualize a Greek villager rallying his countrymen to "spare Greek honor another hour."
Then there's the leading lady, whose eyes sparkled and lit up at some of the things Grant did. What reality!
There's definitely something magical about this film. I was particularly struck when the "Well this is a pleasant surprise" bit came on from the episode of Band of Brothers. It struck me then how I'm at like the crossroads of it all, watching this film in its proper context and then watching the modern Band of Brothers looking back to this time.
I don't know, I really enjoyed the romance between them, I could even feel myself longing for them to be reunited, as if it was something I was experiencing. One of the discussion board subjects reads "ultimate chick flick for me," and I suppose that's the case. This is a film that rightly deserves its happy ending. For my own emotions to be so yanked around by something, it's gotta be a good sort of film.
Big Brown Eyes (1936)
The best of its class.
This is by all means a 10/10 film, the very kind that I watch an actor's entire filmography to find. After having watched the film, I was absolutely shocked to learn that it actually lost the studio money and that it hardly has a wikipedia article at all.
Perhaps I appreciate things in a different way than some other people: a lot of reviewers here have written off this film as being second-rate, or something only that die-hard films of the protagonists would enjoy.
The fact is that when watching this film, I couldn't help but say to myself "there's something amazing about this film." Essentially, it's the way that the camera would focus on faces in a titled way; it's how three or so times they utilized a scene of angled talking faces being done over in a barber/manicure salon to provide for distinct segmenting transitions.
Though maybe most of all is the cast itself, I mean Joan Bennett and Cary Grant. Joan Bennett here, as apparently I gather she does in this period in general, plays that perfect sort of woman that only existed in this era. She's full of energy and does everything with such coordination and awareness, it's simply glorious to see in another person.
Then there's the little things. The scene where the two young guys were called and they were laying on a bed sideways on their backs smoking, and how after that they started talking about airplanes and parachutes -- or when the baby-killer was listening to the radio about flowers, and seemed to have a genuine interest in horticulture in general. Or what about Cary Grant leaving the police station and scraping his cigarette against the engraved plaque in the wall, the one which exhorts the necessity of justice for freedom to work?
The thing is, this is clearly a film where a ton of thought and innovation has been poured into it: this film was obviously someone's darling. Those little things like that aren't found in the normal routine film either past or modern, and that's what makes it so spectacular.
By all means, this is a cult film, and it is absolutely "ahead of its time" while also being so quintessentially a part of it.
A total thrill, and something I hope to see again.
Another Language (1933)
Hallowed Matriarchy
This is a film the MacGuffin of which is the matriarch of Montgomery's character's family, and she is the crux of a rippling wave of problems that goes to affect nearly all those around her. Her husband is a weak man, who habitually occupies himself in a relatively passive role doing things like assembling a puzzle. Montgomery's mother is a domineering, manipulative, self-centered egotist who seems to have some plan wherein all the attentions of the people in her world are exclusively devoted to her and her interests. Indeed, much of the time she is acting the part of a drama queen in order to incriminate Hayes and cause her to appear as a wretched person.
What can we say? Is Hayes a bad wife for attending to her art school passion, lovingly crafting a bust of her husband? Montgomery's mother is a true conservative, subscribing to the notion that a woman is only and is ought to serve her husband -- an ironic viewpoint given her position as matriarch of her entire family structure. It is not at all possible to watch a few minutes of this film and not be reminded of Everybody Loves Raymond, specifically Marie and the way in which she criticizes Deborah for not being a carbon-copy of herself. We cannot even interpret the conflicts of this film as being one between familial obligation vs personal desire, because the expectations held by the mother merely demand obedience without compromise: things must be her way, regardless of the fact that she is a mother or even an elderly person. She could be five years old or eighty years old, she is nothing more than a selfish person.
Helen Hayes has a character which we can readily sympathize with. Not only will she do whatever she can to save her marriage, but she frequently has to endure being criticized and told she is wrong, and doesn't even attempt to defend herself, as it would harm her marriage. Even Montgomery stands against her, and his quasi redemption at the end seems too much a forced ending to really generate any sympathy for his character.
Indeed, this is a very different role for Montgomery, who feels quite out of place here. A mama's boy? He certainly isn't the type of character that would fail to be at his wife's side when she needs him in any other of his film's, and so this is a unique experience, to say the least.
Jerry's character is interesting, being a person as tactlessly and unquestionably fixed upon bringing about what he finds to be right as Marcus Junius Brutus. Can we sympathize with him for not even attempting to restrain himself from falling in love with his aunt? For not respecting the marriage of his uncle? Such a character doesn't sound altogether out of place from an antique tragedy.
This is a strong film, and a good one at that, as is any which is able to produce such strong emotions in the viewer.
Hired Wife (1940)
Roz's Delightful Followup to "His Girl Friday"
It's a strange fact that this film immediately proceeds Rosalind Russel's perhaps most noteworthy film, "His Girl Friday," yet this one doesn't even have a Wikipedia link, and so far only has one review on this website. After all, she gave an impressive performance in that notorious film, and I am completely vexed as to how that role didn't grant her massive attention from the masses, though it seems this film was made by Universal, which wasn't exactly a top-drawer as far as I understand.
Nevertheless, if you happen to have come across this film or have divulged any interest in watching it, I would encourage your desire and eagerly anticipate your enjoyment. After all, this film really is quite swell, even if it isn't particularly a classic in any way. Its plot is screwball, to be sure, with aspects of the Comedy of Remarriage thrown in for good measure, such is the widespread appeal of that genre at this time. While I cannot attest to the picture quality being excellent-- naturally this film lacked the MGM sheen, or even the crispness of some Paramount or Columbia features-- that doesn't detract from any pleasure you might find herein. Naturally I assume that given Rosalind Russel's starring in this film it would most appeal to her fans, and if you are caught in her own particular spell you will no doubt appreciate her character here, which is embodied by the typical qualities which this actress is so renown at invoking, such as her being a strong, coordinated, wise-cracking woman of competence yet who retains an essential romantic, traditionalized passion underneath it all; to be sure, this is a typical Roz role.
Even further surprising is the fact that at least two of the other actors herein are recognizable as appearing in several other films, by which I understand Virginia Bruce and Robert Benchley to be those. All in all, this film is typical of its time, certainly being the type of story that only could have ever been produced before the horrors of the war about to be fought, and if you enjoy such a circumstance; such a setting; such a plot; such characters-- then I cannot understand why you should not watch this film, or join me in wondering why it wasn't successful, or given more attention.
The Easiest Way (1931)
1931 The Movie
The initial sequences of this film, and indeed a good portion of it otherwise, are arranged in such a way that truly evokes the environment of the time period, with the beginning shots capturing the squalorous destitution of the family home, and the amusing shot in particular of the family eating breakfast while the camera remains idle, focusing on their activity-- that's the type of stuff which I love. As others have stated; as the year implies; as I no doubt need to mention-- this is a Pre-Code film. Unlike films made later in this very same decade that have been rigorously codified and placed into the upper echelons of Golden Age fantasy and whimsy, this is one of those films that truly captures the gritty reality of the Great Depression, and which keeps all the trimmings in the process. What I find most interesting about this films is indeed the reality which they offer, which is something that goes to foreshadow the development of the sitcom; and indeed to watch a Pre-Code is exactly like to watch a modern sitcom (or at least one of the more classic sitcoms before that genre itself became overdone).
At any rate, this film in particular really caused me to question the cultural in the given period of time; Art, after all, is a habit which reflects the mindset and mores of a given place, and therefore I'm brought to wonder concerning how much women of 1931 could relate to those in this film. To what extent is the normal woman living in destitution, blessed perhaps with supreme feminine charm, faced with such conflicts as are portrayed in this film-- I mean of course in 1931. Surely what the overwhelming majority of these Pre-Code films leads me to understand is that showbusiness and all other methods in which the female body can be exploited for a profit are things which women of this time are flocking to, at the expense of what is held to be traditional morality. Though with Art being a lens into a period of time, as above mentioned, I continued throughout this film to wonder as to how widespread the morality-for-riches tradeoff occurred actually.
As far as a take-away message goes, this film in my opinion posits the existence of two classes-- one exuberantly rich, and one exorbitantly poor; conflict occurs, the film says, when people don't mind their class, and by this I mean that if the poor and destitute remained poor and destitute yet endured their struggle, they will find their due happiness in time. Similarly, if the rich abide by their own class, herein represented by Adolphe Menjou's character, then they too will find their due pleasure in life. Menjou always in my viewings perpetuates the same character: he is rich and sophisticated yet takes an interest in the exact type of woman that can never love him. Therefore, to betray your own class is akin to masochism: let the rich inhabit a romance with the rich, and the poor with the poor, for love cannot exist in any way befitting if these lines are crossed.
I have not at all provided a synopsis of this film, since it is well documented by others and on websites, yet I have not rated its quality: to that end, to wit, this is a wonderful Pre-Code film enshrouded in MGM's spectacular production films, with a visual sheen and gloss that is pleasing to the eye. I encourage all with an interest for this period, or any of the factors above mentioned, to view it.
Crossroads (1942)
What an amazing film!
This film is extraordinary. If you are drawn to it by either the names William Powell or Hedy Lamarr being attached to it, then you'll be pleased to know that the both of them give performances here that are of their respective bests. William Powell is the type of character here that everyone loves to see him as, and he very well conveys the distraught that his character goes through ... there are quite a few moments here of suspense that particularly kept my unblinking eyes glued to the screen!
Hedy Lamarr isn't at all in one of her "stone face" roles here, or those in which she demonstrates little of acting ability I mean, and plays the "Myrna Loy" character in a way worthy of admiration (the true "ideal marriage" concept that Powell and Loy put together so well always).
I'm not particularly well versed in mystery films otherwise to know how predictable the plot is, though I was kept guessing throughout and really found myself hooked. I think this is a fantastic collaboration and film altogether, and was pleased to see Felix Bressart working together with Hedy Lamarr again, in a truly comical role, after having appeared next to her already in Comrade X and Ziegfeld Girl.
For fans of Lamarr and Powell this film cannot be more recommended!