055. Bad Girl (Borzage, 1930)
Frank Borzage won his second Academy Award for Best Director for the Depression romance Bad Girl. The brilliance of his work in this film is the simplicity. It’s a very small, private love story that probably was probably more than a little like a lot of love stories happening in real life at the time, so he knew not to be too over the top and flashy. The movie is very down to earth and it feels stunningly authentic. Not only is it an excellent love story, it’s also an incredible depiction of life during the Depression, from the tenements to the slang.
054. Baby Face (Alfred E. Green, 1933)
Baby Face is, without a doubt, essential pre-code viewing. It’s hard to find a leading female character more pre-code than Barbara Stanwyck’s Lily (seriously, what is up with the worst of the pre-code dames being named Lily or Lil? That was also Jean Harlow’s name in Red Headed Woman, and she might actually have Stanwyck beat for the most pre-code). Even during the era, that weren’t a lot of films that celebrated a woman’s ability to get to the top by getting on her back, and Baby Face was one of them. Lily sleeps her way to the top, and she’s completely unapologetic about it.
053. It’s Love I’m After (Archie Mayo, 1937)
It’s Love I’m After is another nutty love-square romantic comedy, only it’s not quite as totally frakking insane as Four’s a Crowd. Nevertheless, it’s a flat out awesome romcom, with stellar performances from the whole cast. Unlike Four’s a Crowd, you can be pretty certain from the beginning who’s going to end up with who, despite the couple swapping (and at one point it almost becomes a love pentagon when Davis’ character starts to cozy up to DeHavilland’s dad), but it’s fun to watch them get there. It also has one of the best lines ever in a comedy. After being particularly mean to DeHavilland, only to have her delight in his criticisms, Leslie Howard says, “You don’t suppose I’ve awakened her ‘slap me again, I love it’ complex?”
052. City Lights (Charles Chaplin, 1931)
No doubt I’ll get a few “What the hell? WAY TOO LOW!” comments because City Lights isn’t in my top 50. But I still love it. Otherwise it wouldn’t be on this list at all. Chaplin continued to make silent films into the sound era, and proved that true emotion and love could still be expressed without words. It’s a film about true selflessness. The Tramp works to earn money for the Flower Girl’s operation even though he knows there’s a huge chance she won’t want him once she sees he’s not the millionaire she thinks he is. It’s a simple story, but a moving one, and it proves that you don’t need a lot of frills to make an effective romantic comedy.
051. Camille (George Cukor, 1936)
Greta Garbo’s performance as Marguerite in Camille my be the most famous of her career. While I don’t think it’s her best performance, it’s certainly the ultimate Garbo role, the sacrificial bad girl, and she even gets to slowly die in this one. Yeah, sounds like a downer, but it is an incredibly romantic and ever moving film. And Garbo’s performance is really fantastic. She’s charming, she’s sexy, she’s sad. And Robert Taylor makes for a wonderful younger leading man. They’re a good pair, with strong chemistry. If you like Moulin Rouge, you’ll like this. Because it’s basically the exact same story.