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Synopsis:
When the son (Charles Farrell) of an overbearing farmer (David Torrence) meets a waitress (Mary Duncan) while in Chicago to sell his family’s wheat, the two fall in love and he brings her back to his farm — but can Torrence’s new “city girl” wife handle life in the country?

Genres:

• City vs. Country
• Farming
• F.W. Murnau Films
• Romance
• Silent Films
• Womanizers

Review:
F.W. Murnau’s next-to-final film before Tabu (1931) was this overwrought romantic tale of love between a “country boy” and a “city girl”. While the visuals and settings are beautiful (as to be expected in any film by Murnau), the storyline leaves a lot to be desired. Torrence is a caricature of a disciplinarian father-figure, heavy-handed in everything he says and does:

He chastises his young daughter (Anne Shirley) not once, but twice, for daring to play with a few stalks of precious wheat (!). While Duncan is a refreshingly spunky female lead, her entire existence revolves around swatting off obnoxious men making a play for her (other than Torrence, who simply hates her for no good reason). Supporting characters — i.e., all the leering men — aren’t given much depth, and the romance between Farrell (who comes across as somewhat dim-witted) and Duncan doesn’t really have anywhere to go. Feel free to skip this one unless you’re a Murnau completist.

Redeeming Qualities and Moments:

• Fine cinematography
  
  
  

Must See?
No, though of course Murnau fans will want to check it out. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• Silent Volume Review
• TV Guide Review

Synopsis:
A reformed Chicago gangster (Edward G. Robinson) heads to Santa Barbara, where he falls for a society dame (Helen Vinson) from a corrupt family while renting a house from a poor but kind young woman (Mary Astor). Will ‘Bugs’ (Robinson) achieve his dreams of “legitimate” social success, or will his sordid past come back to haunt him?

Genres:

• Cross-Class Romance
• Edward G. Robinson Films
• Gangsters
• Mary Astor Films
• Roy Del Ruth Films
• Social Climbers

Review:
Roy Del Ruth directed this gangster-comedy which starts off somewhat predictably but builds to an enormously satisfying conclusion. Robinson’s ‘Bugs’ is established right away as such a genuinely good guy (he says goodbye to his moll by giving her $25K in appreciation, without a hint of condescension), it’s hard to watch him being so instantly duped and taken advantage of by “high society”. With loyal Astor by his side, we know it’s only a matter of time before he recognizes who’s really right for him — and thankfully, that all plays out nicely. I’m sure Depression-era audiences were thrilled to see corrupt socialites and money-men get their due. Meanwhile, there are numerous zingy pre-Code moments and lines to enjoy:

“Three days, and we don’t even get a tumble.”
“Polly — she’s been a sister-in-law to the world.”

As DVD Savant writes, “You’ll be throwing the remote into reverse to make sure you heard some of these lines correctly.”

Note: Robinson would spoof his gangster-persona again in A Slight Case of Murder (1938) and Brother Orchid (1940).

Redeeming Qualities and Moments:

• Edward G. Robinson as ‘Bugs’
  
• Mary Astor as Ruth
  
• Many racy Pre-Code moments
  
  
• A satisfying finale
  

Must See?
Yes, as an unexpectedly enjoyable “good show”.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• TCM Article

Synopsis:
When the newly elected president of the United States (Walter Huston) is injured in a car accident, he awakens a completely different man, surprising his top aide (Franchot Tone) and his personal secretary (Karen Morley) with a sudden passion for the people.

Genres:

• Character Arc
• Depression Era
• Fantasy
• Franchot Tone Films
• Karen Morley Films
• Walter Huston Films

Review:
Made during the height of the Great Depression (just before the start of the New Deal), this fantasy film starts with a far-out premise: what if our president was suddenly invested with a supernatural version of a TBI-induced extreme personality change, shifting from a typically grandstanding but ineffectual politician to one who scolds his colleagues (“You’ve been traitors to the concept of democracy upon which this government was founded!”) to a dictator-like leader (“I can repudiate anything!”) before ordering notorious bootlegging criminals to be murdered by firing squad and world leaders to destroy their weapons? Such is the wild tale on display in this cinematic curio, a political morality tale which showcases an eerie form of fascism emerging in a figure who initially presents as an inspiring hero of the people. As DVD Savant writes in his interesting and fact-filled review, “This well made fantasy will perplex ordinary viewers while leaving political thinkers with their mouths hanging open.” It would make a fascinating double-bill with The Man Who Could Work Miracles (1936), also about the inception and outcome of supernaturally-driven “omnipotence”.

Note: I was unaware of Karen Morley’s HUAC-incited career decline; given her life-long interest in labor activism, it’s fitting that she co-starred in this film, Our Daily Bread (1934), and Black Fury (1935).

Redeeming Qualities and Moments:

• Luminous cinematography
  
  

Must See?
Yes, once, for its unique storyline and historical relevance. Listed as a Cult Movie and a Personal Recommendation in the back of Peary’s book.

Categories

• Historically Relevant

Links:

• IMDb entry
• DVD Savant Review (spoilers alert)
• Combustible Celluloid Capsule Review
• NY Times Original Review
• TCM Article
• Moria Review

Synopsis:
When the young son (Richard Cromwell) of a crusty British colonel (Guy Standing) joins his regiment in India, both his mentor (Gary Cooper) and another new recruit (Franchot Tone) are skeptical of his competence and motives — especially when he falls under the sway of a beautiful, mysterious woman (Kathleen Burke) introduced to him by a local rebel leader (Douglass Dumbrille).

Genres:

• Akim Tamiroff Films
• Cavalry
• Father and Child
• Franchot Tone Films
• Gary Cooper Films
• Henry Hathaway Films
• Historical Drama
• Soldiers

Review:
Having just reviewed The Charge of the Light Brigade (1936), I thought I would revisit its better known predecessor — this historical adventure (directed by Henry Hathaway, and based in name only on an autobiography by a British cavalry officer) which is likely responsible for bringing the military term “lancer” to modern viewers’ awareness.

The story revolves around ongoing tensions between a career-obsessed colonel (Standing):

who can’t fathom leaving his work behind when he dies, and his quietly ambivalent son (Cromwell).

As with Gunga Din (1939) — also taking place in colonial India — it’s hard to watch a film which so blatantly elevates imperialism; but this is ultimately a relic of its time. As pointed out in TCM’s article:

“It seems unlikely… that we’ll ever see the return of British Imperialist action adventures. During the 1930s, tons of movies were made in which handsome British officers lightheartedly slaughtered whatever group of extras was thrown at them, with the enemy sporting decidedly darker skin tones than the nominal heroes.”

With that said, the entire affair is atmospherically filmed; Cooper and Tone are charismatic compatriots-in-arms (check out the freaky snake-“charming” scene):

… and the finale is excitingly staged.

Note: This film is also distinctive as “one of only two pictures in which Cooper wears a mustache” (!).

Redeeming Qualities and Moments:

• Gary Cooper and Franchot Tone as Lts. McGregor and Forsythe
  
• Atmospheric cinematography
  
  

Must See?
No, but it’s worth a one-time look for its historical relevance.

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
In 19th century colonial India, a cavalry major (Errol Flynn) and his brother (Patric Knowles) vie for the love of the daughter (Olivia de Havilland) of their commander (Donald Crisp). Meanwhile, after a devastating massacre of women and children at a garrison, Flynn vows revenge on a duplicitous rajah (C. Henry Gordon), ultimately leading to “the charge of the light brigade”.

Genres:

• Cavalry
• David Niven Films
• Donald Crisp Films
• Errol Flynn Films
• Historical Drama
• India
• Love Triangle
• Michael Curtiz Films
• Olivia de Havilland Films
• Revenge
• Siblings

Review:
After achieving success with Errol Flynn and Olivia de Havilland in Captain Blood (1935), director Michael Curtiz teamed up with the gorgeous duo once again for this “loosely inspired by” adaptation of Sir Alfred Tennyson’s classic poem. Unfortunately, it comes across these days as little but an over-long ode to British colonial powers, and is dominated by an entirely unnecessarily romantic subplot that simply confuses viewers about who to root for. (Aren’t Flynn and de Havilland supposed to be cinematic lovers? And if so, why has she authentically fallen for his brother instead?) The battles scenes are all impressively filmed and edited, and Sol Polito’s cinematography is impeccable; however, this one is only must-see for Flynn completists.

And now for a little bit of the original poem, which it was a true treat to revisit:

. . .
Half a league, half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred…

Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die.
. . .

Note: This film is historically significant for sad reasons; as noted in TCM’s article:

Curtiz so abused the use of trip-wires in pulling supposedly wounded horses to the ground during the sequence, animals were regularly breaking their necks and legs. Many of them had to be shot. Flynn, to his endless credit, was so appalled by what he was seeing he secretly contacted the ASPCA and implored them to come to the location. Curtiz’s cruel methods (which, it should be noted, he didn’t invent) would forever change the handling of animals on movie sets.

Redeeming Qualities and Moments:

• Sol Polito’s cinematography
  
  
• The appropriately rousing finale
  

Must See?
No; this one is only must-see for Flynn fans or Curtiz completists.

Links:

• IMDb entry
• TCM Article
• DVD Savant Review
• NY Times Original Review

Synopsis:
Three adopted brothers — Ray Milland, Gary Cooper, and Robert Preston — who join the Foreign Legion in Algeria after one of them confesses to stealing an heirloom jewel from their guardian (Heather Thatcher) soon find themselves living under the sadistic rule of a ruthless sergeant (Brian Donlevy).

Genres:

• Brian Donlevy Films
• Broderick Crawford Films
• Flashback Films
• Gary Cooper Films
• Orphans
• Ray Milland Films
• Robert Preston Films
• Ruthless Leaders
• Siblings
• Soldiers
• Susan Hayward Films
• William Wellman Films

Review:
William Wellman directed this adaptation of a popular 1924 novel by P.C. Wren, previously filmed in 1926 and remade in 1966 and 1982. The storyline is straightforward but baffling in terms of why such a narrative would be of interest to so many. The strange confession of jewelry thievery in an upper-crust household isn’t resolved until the end (and even then, poorly); it seems the primary goal here is to show the lifelong bond of siblings, as well as how men react under sadistic rule — but this has been portrayed with more nuance and interest in other movies, such as Mutiny on the Bounty (1935).

Note: Diehard Susan Hayward fans may enjoy seeing her in one of her earliest roles, as Milland’s love interest back at home.

Redeeming Qualities and Moments:

• Brian Donlevy as Sergeant Markoff
  
• Some stark imagery
  
• Fine location shooting (albeit in Arizona)
  

Must See?
No, though Wellman completists or fans of desert warfare flicks will want to check it out.

Links:

• IMDb entry
• FilmSite Review
• TV Guide Review

Synopsis:
When a British draper’s clerk (Roland Young) is suddenly able to work miracles, he seeks help from a colonel (Ralph Richardson) and a pacifist vicar (Ernest Thesiger) in making the world a better place.

Genres:

• Fantasy
• George Sanders Films
• H.G. Wells Films
• Ralph Richardson Films
• Roland Young Films
• Supernatural Powers

Review:
H.G. Wells scripted this fantastical morality tale (based on his own 1898 short story) about the possibilities inherent in miracle-making — which inevitably run a certain course to doom. Wells carefully takes us through Young’s initial incredulity and enthusiasm:

towards a muddled mess of decision-making and accidental outcomes, showing how easily people with power can be swayed both by others’ advice, and their own sense of faux-grandiosity.

Young’s character is deliberately an “every man” — indeed, one with lust in his heart (for coworker Joan Gardner):

despite the presence of a “good woman” (Sophie Stewart) waiting by his side:

It’s no surprise to see him struggling so mightily with his newfound ability. The entire tale is framed as the machinations of a trio of gods — Indifference (George Sanders — perfect casting), Player (Ivan Brandt), and Observer (Torin Thatcher) — overlooking the Earth and trying this exercise on for size:

… which brings to mind the structure of Jason and the Argonauts (1963).

Redeeming Qualities and Moments:

• An intriguing glimpse at what miraculous powers might wreak upon humanity
  

Must See?
Yes, once, as a surprisingly thought-provoking fantasy. Listed in the back of Peary’s book as a film with Historical Importance and a Personal Recommendation.

Categories

• Good Show

Links:

• IMDb entry
• Moria Review
• Spinning Image Review
• ScreenOnline Review
• NY Times Original Review

Synopsis:
An alcoholic, has-been playwright (Thomas Mitchell) offers valuable jewelry to a suicidal embezzler (John Qualen) who has joined forces with a con-artist (Douglas Fairbanks, Jr.) and an aspiring performer (Rita Hayworth) in pulling off a gambling grift — but will their elaborate ploy work out or cost them their lives?

Genres:

• Con-Artists
• Douglas Fairbanks, Jr. Films
• John Qualen Films
• Rita Hayworth Films
• Suicide
• Thomas Mitchell Films

Review:
Ben Hecht wrote and directed this compact, humanistic thriller about a quartet of down-and-out individuals finding each other one evening and conspiring to pull a fast one on fate. Memorable character actor John Qualen (a long-time fixture in John Ford films):

is given a meaningful leading role, albeit one which is quickly rivaled by Mitchell’s likeably boozy wordsmith.

The series of events that unfold move quickly, and, as Bosley Crowther wrote in his glowing review for The New York Times: “… it is beautifully compact. Between dark and dawn [Hecht] has set a spare and enormously suspensive story that is as neatly fitted as an O. Henry fable.”

Lee Garmes’ cinematography is appropriately atmospheric, highlighting the unique sets and claustrophobic setting within which this tale plays out.

Note: Hayworth sounds eerily like Marilyn Monroe at times — though perhaps the comparison is an apt one.

Redeeming Qualities and Moments:

• Fine performances by the small ensemble cast
  
• Lee Garmes’ cinematography
  
• Atmospheric sets
  
• Ben Hecht’s screenplay

Must See?
Yes, as a nifty little flick.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
Shortly after his girlfriend (Judi Meredith) and friend (Dennis Hopper) are sent to Mars to meet with a recently landed spaceship, an astronaut (John Saxon) follows them to provide much-needed support — especially when the lone alien they rescue (Florence Marly) turns out to be challenging to manage.

Genres:

• Aliens
• Astronauts
• Basil Rathbone Films
• Dennis Hopper Films
• Horror
• John Saxon Films
• Science Fiction

Review:
Like Mario Bava’s Planet of the Vampires (1965), this low-budget AIP sci-fi-horror flick (directed by Curtis Harrington) was re-purposed from existing Soviet footage to stylish effect. While the first half-hour moves glacially, and the pacing overall is too slow, the screenplay takes a surprising enough turn (once Marly emerges from her slumber) to shake things up significantly, and make one take serious notice. Green-faced Marly’s wordless performance is a marvel to behold, as she hypnotizes the men around her and clearly has malevolence up her sleeve (or perhaps up in her beehive-do):

Naturally, inquiry-driven scientists — most particularly Dr. Farraday (Basil Rathbone) back on Earth — demand she be brought back safely at any cost, despite the clear risk she poses. It’s been noted that both this and Bava’s flick bear a remarkably strong resemblance to Alien (1979), which is part of what makes them each worth a look despite their flaws. The final scene is genuinely chilling and icky.

Note: I’m leaving out a spoiler genre that would give away too much. Stay away from any online reviews if you want to be surprised.

Redeeming Qualities and Moments:

• Florence Marly as the alien
  
• Atmospheric cinematography and sets
  
  
• Artistic opening titles
  

Must See?
Yes, once, for its unusual storyline and bold visuals, and as a clear inspiration for Alien. Listed as a Cult Movie in the back of Peary’s book.

Categories

• Cult Movie

Links:

• IMDb entry
• DVD Savant Review
• Spinning Image Review
• Moria Review