I’ve just put up a review of a couple of early 1930s British musical comedies which are just coming out on DVD over at my other site, Britishfilmclassics.wordpress.com. Please do take a look if you are a fan of British comedies or musicals – or of operas, since the second film features several operatic excerpts!
A Happy New Year to all readers of my blog, and thanks very much for your support, visits, comments and ‘likes’ during 2014. I’m hoping to post a bit more regularly here over the coming 12 months, so watch this space.
A while back, I launched a series of mini-reviews mentioning 5 films on a particular theme – I’m now resurrecting the idea for a quick look at some movies about New Year, in no particular order.
1. Cavalcade (Frank Lloyd, 1933): I’ve just got round to watching this pre-Code, an adaptation of a stage play by Noel Coward which revolves around a series of tableaux centred on momentous events in British life. It begins with New Year’s Eve at the dawn of the 20th century, and runs through to New Year’s Eve 1933. The way it blends together the story of two families above and below stairs clearly shows the way forward to TV series such as Downton Abbey and Upstairs Downstairs, while the intensely-felt central performance of Diana Wynyard as an aristocratic mother at times reminded me of Celia Johnson in Coward’s later classic, Brief Encounter. I really enjoyed it, despite the fact that many people don’t. Anyway, yes, it is episodic, but what great episodes. Also, the music is excellent, especially Ursula Jeans’ performance of Coward’s song Twentieth Century Blues - even if you don’t want to see the whole film, just treat yourself to this clip!
I’ve recently started up another site focusing on British films, though there isn’t much content there – I’ve just written my first review there, of a little-known courtroom drama starring Richard Attenborough, if anyone feels like taking a look.
As usual with films which have dates in the title, Gold Diggers of 1937 was actually made the previous year. It stars Joan Blondell, one of my favourite actresses, opposite her real-life husband of the time, Dick Powell. There is a lot of chemistry between them, not surprisingly, and I found that I warmed to Powell in this more than usual. Maybe I’m starting to get his appeal, which had previously been a mystery to me, or maybe it’s because his character in this one is easy to like – a bored, hard-up insurance salesman who dreams of making it as a singer.
Up to now, the only Busby Berkeley musicals I’d seen were his famous three from 1933. Coming to this later offering, I wondered if it would feel insipid compared to his pre-Code work. However, despite bearing that certificate at the start, the film still packs quite a punch – as well as being fun much of the time. It’s just a shame that it only has one massive musical number worked up in Berkeley’s trademark lavish style, with the film’s other songs being staged in a more modest way. (The subject matter of that one number, All’s Fair in Love and War, is pretty jaw-dropping, even by Berkeley’s own standards.) The songs themselves are great – written by the top teams Harry Warren and Al Dubin and Harold Arlen and E Y Harburg.
Hi to all those visiting my blog! I haven’t been around here much lately, and I’m afraid my projected themes fell by the wayside… though I might still resurrect them. But, anyway, I intend to get the show back on the road with some postings about musicals and then see where the spirit takes me. I’ve been enjoying the great Busby Berkeley movies in recent months, especially as I had the opportunity to see Footlight Parade during the pre-Code festival at the BFI in London earlier this year. This was also the first opportunity I’ve ever had to see a James Cagney film on the big screen – I’ve seen just about all his films, bar a couple of TV productions. but only on the small screen ( in many cases on Youtube). It was a revelation to see those spectacular Berkeley numbers as they should be seen – and I have more big-screen joy coming up next month, when Ipswich Film Society plans a screening of Gold Diggers of 1933.
In the meantime, I’ve been lucky enough to get my hands on an imported TCM mini set in their Greatest Classic Films series, thanks to my daughter who gave it to me for my birthday. On two double-sided discs, it contains the aforementioned Footlight Parade, 42nd Street, and two lesser-known Berkeley films, Dames and Gold Diggers of 1937. Some films in this TCM series are coded for region 1 only, while others are region free – but luckily, although I’m in the UK, I do have the ability to watch multi-region. A big bonus is that these DVDs have lots of special features, including trailers and featurettes. too. Just wondering, what are anyone’s favourite Berkeley musicals? I especially love 42nd Street, but am looking forward to discovering some of his lesser-known offerings. Watch this space for a review of Gold Diggers of 1937 coming up in the next couple of days.
For any readers of this blog who love vintage comics as well as vintage films, take a look at this piece by my daughter, Charlotte, at Vulture, 13 Absurd Panels from 1940s Captain Marvel Comics.
This is my contribution to the World War I in Classic Film blogathon . Please do visit and take a look at the other postings!
Where previous Howard Hawks films about the First World War focused on pilots, this one goes into the trenches. Warner Baxter, Fredric March and Lionel Barrymore star as beleaguered French soldiers struggling to cope with the ceaseless death and destruction all around them on the Western Front. A contemporary review in the New York Times criticised The Road to Glory for its mix of grimness and romanticism, and failure to draw any conclusions about the “ultimate value of [the soldiers’] sacrifice”. Yet, to a modern audience, the bleakness is the thing which resonates – the feeling of individuals caught up in events which they can’t control and don’t understand. While it isn’t as well-known as some Hawks movies, this film is now available on DVD in both region 1 and UK/region 2.
The drama centres on two melodramatic tales of human relationships, a love triangle between two soldiers and a nurse, and a father and son coming together on the frontline. However, the most powerful and memorable elements of the film, beyond these stories, are the portrayals of the war itself. There is some very stark photography of the men advancing through a ruined landscape full of darkness and shadows. Much of this footage was taken from a great French film, Raymond Bernard’s Les Croix de Bois, after Twentieth Century Fox bought up the rights. But this movie has its own story.