Essays


Yeah, I’m a few days late on this one. Like I said, I was really busy making that facebook page and all.

Sadly, we’ve lost another great actress of the classic era. Jean Simmons died on Thursday, just a little over a week short of her 81st birthday.

Simmons started her career on the screen in small roles in B-pictures before moving up the ranks in Hollywood. Soon she was getting supporting roles in major films with major directors, like Michael Powell and David Lean. Soon she was playing the leading lady in a variety of roles, from Shakespeare to noir to biblical epics.

She worked diligently in film throughout the 1930s, 40s, 50s, and 60s, and she then moved on to many television projects, including the miniseries North and South and the popular television show Murder She Wrote.

She’s known for her more popular films, like Black Narcissus and Great Expectations, but since this is Obscure Classics after all, I want to hit on a few of her lesser remembered films.

Angel Face is a fantastic noir that Simmons made with film noir heavyweight Robert Mitchum. It has an intentionally slow pace that builds the suspense for a wallop of a conclusion. Mitchum is, as always, pretty great. But it’s Simmons who really anchors the movie. She’s definitely nuts, but she’s so calm about it that it’s really downright eerie.

So Long at the Fair is a strange film, based on a supposedly true story (the details on it are sketchy and hard to pin down). This time Simmons is playing a sane person who everyone thinks is crazy, and it’s a more frantic performance than the one in Angel Face. It works as both a bizarre mystery and as a strong costume drama.

2009 was yet another tough year when it comes to celebrity deaths. Much like 2008, there were quite a few upsetting and shocking deaths (Natasha Richardson, David Carradine, Michael Jackson, Brittany Murphy). There were also, as usual, several deaths in the classic film world, but perhaps this year wasn’t as upsetting as last year, when we lost film giants like Paul Newman and Richard Widmark. Nevertheless, we lost several wonderful and memorable contributors to classic film. As usual, I can’t right something for the many people who passed away, but here are just a few that hit me hard.

Early this year we lost the wonderful character actor Karl Malden. He was 96 years old, one of the oldest of the great actors left. He didn’t have the movie star looks to be a leading man, but he was easily one of the best actors throughout the latter part of the classic era, turning in several incredible supporting performances. He won an Academy Award for his performance in A Streetcar Named Desire, and received another nomination for On the Waterfront. These are easily his two most famous performances, but he was also amazing in movies like I Confess, Gypsy, The Birdman of Alcatraz, and Baby Doll, which is my personal favorite performance from him.

Director Robert Mulligan is best known for To Kill a Mockingbird, which is an excellent film. It is easily his best film, but unfortunately a lot of his other films are overlooked, and he made many good ones. I’m pretty fond of Love With the Proper Stranger, starring Natalie Wood and Steve McQueen. It’s a really strong romance and Mulligan worked with the chemistry between Wood and McQueen so well. Fear Strikes Out is also an really good film, one of the better biopics of the era. He also did an excellent job with the uniquely structured Same Time, Next Year.

Dorothy Coonan is probably best known as Mrs. William Wellman. They were married for 41 years, until his death. But before she married Wild Bill, she made a few movies. She was a dancer and chorus girl in 42nd Street and Gold Diggers of 1933. But her most impressive work onscreen is in her husband’s film Wild Boys of the Road, in which she plays a young girl living her life on the railroad, hopping freights. It’s an honest movie about the Depression, and Coonan’s performance is quite affecting.

Ricardo Montalban is mostly remembered for his later work in Fantasy Island and The Wrath of Khan, but he made a few good films back during the classic era. He costarred in a few really good musicals in the late 1940s (On and Island With You and Neptune’s Daughter) as well as Battleground, a very good World War II movie from 1950. He also starred in Latin Lovers with Lana Turner. It’s not a particularly good movie, but I’m fond of it.

Jane Bryan’s career was pretty brief. She only made 18 films and worked only between 1936 and 1940. But in that four year period, she had supporting roles in some really wonderful films, like Marked Woman, The Old Maid, and Each Dawn I Die. She was extremely charming in the lead female role in the crime comedy A Slight Case of Murder.  Bryan had a really great, understated screen presence, but she married in 1940 and quite the business for good.

James Whitmore is one of my favorite character actors from the 1950s. He was in John Huston’s caper drama The Asphalt Jungle, and he more than held his own among a really impressive ensemble cast. He also costarred with Montalban in Battleground. Whitmore had a screen presence that was really electric and versatile. He went from films like The Asphalt Jungle to musicals like Kiss Me Kate and Oklahoma.

I wrote about Jones’ death a few weeks ago when it happened. She’s one of my all time favorite actresses, who could handle both comedy and drama with amazing skill and ease. From Portrait of Jennie to Cluny Brown, she was simply dazzling to watch on screen. She was also great at going from the good girl (in something like Since You Went Away) to the bad girl (her fiery performance in Duel In the Sun). Her talent is simply unforgettable.

050. The Roaring Twenties (Raoul Walsh, 1939)
The Roaring Twenties is one of the most amazing gangster dramas of the classic era, but it’s probably the least recognized among the “big” ones. Few gangster films have a leading character as likable as James Cagney’s Eddie Bartlett. And because he’s so likable, his downfall is absolutely heartbreaking. This probably is the most emotional of all the major gangster films of the era. The film is about more than just Eddie’s downfall, though. It’s about the downfall of the country, how is went from the fun Roaring Twenties to the Great Depression. And it has one of the most fantastic closing lines of all time. “He used to be a big shot.”

049. Men In White (Richard Boleslawski, 1934)
As with Life Begins, Men In White is a fascinating look at how things were so much different in the medical world in the 1930s. But it’s also one of the most daring films to come out of the pre-code era. It’s not just about sex and violence. It tackles some really important social issues of the time. The topic of abortion was so taboo they had to tip toe around it in the dialogue, even during the pre-code era. It was a bold move, and the films handles it delicately but honestly. It’s an emotionally powerful film in more ways than one.

048. Nothing Sacred (William Wellman, 1937)
Few actresses could do screwball comedy as well as Carole Lombard (Fort Wayne native, thank you very much). There were many gifted comic actresses in the 1930s, but I think Lombard was at the top of the list, and I really can’t imagine anyone else playing Hazel Flagg in Nothing Sacred. She really carries the movie, being sweet, funny, and likable despite the fact that we know she’s lying the whole time. Fredric March was no screwball slouch either, and the pairing of these two is absolutely perfect. I enjoy the way it often buck romcom norm, as with their first kiss, which we don’t even see. It’s amazing how director William Wellman was able to make a kiss we didn’t even get to see so incredibly romantic.

047. Mannequin (Frank Borzage, 1937)
Believe it or not, it took me awhile to warm up to Mannequin. I know, right? A Frank Borzage movie I didn’t love instantly. It took a few viewings for me to appreciate and really see the beauty in the love story between Joan Crawford’s Jesse and Spencer Tracy’s Hennessey. It’s a very slow build. Jesse starts the relationship married to another man, and Hennessey loves her from afar. But it turns out her husband is a pretty big loser, so she divorces him. Hennessey pursues her, she resists, but then they marry. Jesse doesn’t really love Hennessey at this point, and they both know it, but they figure that love will grow. And it does.

046. The Man In Possession (Sam Wood, 1931)
The Man In Possession might be the sexiest pre-code film I’ve ever seen. Of course, like most pre-code films, it uses sly innuendos and the like, but even then it’s a lot more blatant and in-your-face about its sexuality than most films from the era. There’s a moment where Irene Purcell’s Crystal wakes up in the morning, obviously sated and worn out from a night of lovemaking with Robert Montgomery’s Raymond, and the maid finds Crystal’s nightgown at the end of the bed. And it’s pretty much ripped in half. That’s probably the most blatantly sexual moment in all of pre-code film. Thankfully, though, there’s more than just that to the film. It’s a clever, very funny comedy. And it has Robert Montgomery. Which is always good.

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.

074. City Girl (Murnau, 1930)
FW Murnau was a really interesting director. It’s kind of fascinating to compare his other films, like Nosferatu, Faust, and even Sunrise with his 1930 silent film City Girl. On the surface, it’s a very different kind of film. It’s visual style is much simpler than most of his previous efforts (but no less stunning), and it doesn’t have the massive dramatic punch. It’s a much smaller, more intimately set story about love and family and finding your place. Mary Duncan and Charles Farrell (who were fantastic together the year before in Frank Borzage’s The River) play the young lovers who come from two different worlds, and their chemistry manages to carry much of the film.

Academy Award winning actress Jennifer Jones passed away today in Malibu at the age of 90.

Jones won an Oscar in 1943 for The Song of Bernadette. She was nominated four other times, for Love Is a Many-Splendored Thing, Duel In the Sun, Love Letters, and Since You Went Away.

I don’t really talk about Jennifer Jones a lot on this site, but she really is one of my all time favorites. She’s definitely very high on my list of actresses working in the 1940s. Portrait of Jennie is one of my all time favorite movies. It’s an incredible love story, and Jones’ performance is amazing. She plays Jennie from a child (I believe she starts the story at 10 years old) to an adult, and she’s believable at every stage of her life. She also manages to imbue the character with an otherworldly feel that’s essential to the character. Joseph Cotten was her leading man in this one, and I think he was easily her best leading man.

She also made Love Letters with Cotten. It’s a bizarre movie that’s kind of impossible to explain without ruining. But it’s really fantastic. It’s weird and twisty and just so damn good, and Jones gives another stellar performance. It’s a difficult character, with some serious emotional and psychological problems, but she also needs to be convincing in her romance with Cotten, and Jones pulls off both sides of the character perfectly.

I also love her in an underseen Lubitch film, the endlessly charming Cluny Brown.  Her performance is really essential to the film. Played by a lesser actress, the character could have easily come out as supremely annoying. But Jones makes her so funny and lovable.

Madame Bovary doesn’t get a lot of attention, but I think it’s a pretty great movie.  Her character does bad things and Jones is able to make the character sympathetic without condoning her actions. And she infuses her with an incredible amount of passion.

Jones does have a few missteps in her filmography, particularly her two remakes, A Farewell to Arms and The Barretts of Wimpole Street. Both movies are pretty terrible, pale imitations of their originals, but that’s not Jones’ fault, of course.

Really, compared to other stars of the studio era, Jones’ filmography is pretty short. In her 35 years in Hollywood, she made only 27 films (when you look at a lot of stars from the 1930 and 1940s, they’ll have 80, 90, sometimes over 100 films to their credit). But with the exception of a few films, all of her works was wonderful. Hers is definitely a case of quality over quantity, and she will definitely be missed.

By Katie Richardson

You guys get two entries since you went so long without. Yay!

60. Life Begins (James Flood, 1932)
There are some movies from the 1930s that are really fascinating looks into the way the world worked back then. Some things were just so drastically different. Life Begins is one of those film. It’s about the maternity ward of a hospital and the many women who occupy it. It’s so strange to see the way a hospital maternity ward worked at the time. But outside of being an interesting 1930s slice of life, Life Begins is a really excellent movie about, well… life. Young plays an expectant mother who’s been checked into the maternity ward knowing that once her child is born she’ll be returning to prison to finish out a manslaughter sentence.  Glenda Farrell plays another expectant mother, a carefree showgirl. This is a very emotionally charged movie about the start of a new life and all the complications that brings.

059. Scarface: The Shame of the Nation (Howard Hawks, 1932)
Howard Hawks’ violent, completely insane Scarface: The Shame of the Nation is without a doubt one of the best and most important gangster films of all time. Paul Muni give an amazing performance as Tony Camonte, the overly ambitious and kind of crazy protagonist of the film. It’s completely fearless and shameless. The supporting cast is excellent as well. George Raft (who had real-life mob ties) plays Tony’s closest confidant, the lovely and alluring Karen Morley plays his love interest, and Ann Dvorak is flat out incredible as his little sister. There is, of course, a shocking amount of incestuous subtext, which just make this movie all the more fascinating. It’s easiest the most balls-to-the-wall crazy mobster movie of the classic era.

057. Jezebel (William Wyler, 1938)
Bette Davis was never more beautiful than she was in William Wyler’s period romance Jezebel. And her performance is absolutely wonderful (she won her second Best Actress Oscar for it). She makes Julie a more arrogant, beautiful, glorious, simpering mess of a southern belle than Scarlet O’Hara could ever hope to be. William Wyler, despite coming form Europe, just got the American South. (He also directed Davis in the exquisite Southern masterpiece The Little Foxes in 1940.) It’s a shame he never directed a Faulkner adaptation. The two would have been an absolutely perfect fit. Davis is paired here with Henry Fonda, and the two are an excellent screen team. They had loads and loads of chemistry.

057. Four’s a Crowd (Michael Curtiz, 1938)
Love triangles are a pretty ordinary thing in romantic comedies. Love squares are less common. Especially love squares as completely nuts as this. Not only is it a totally crazy love square romantic comedy, but it’s also a newspaper movie, too. Be still my heart! And it even has a twist ending. That’s right, it’s a romantic comedy with a twist ending. Up until the last minute, you’re not really sure who’s going to end up with who. It really could go any way. Michael Curtiz is one of the most underappreciated directors of all time in my opinion. He gets a lot of recognition for Casablanca, but so few recognize the really solid work he did as a studio director. He could do literally every genre, and he proved with Four’s a Crowd that he could do excellent work in the screwball comedy genre.

056. The Barretts of Wimpole Street (Sidney Franklin, 1934)
Hmmm… two movies with strong incestuous undertones in one post. That’s  a little bit weird. Anyhoo, the film is based on the true love story between Robert Browning and Elizabeth Barrett Browning.  But while the romance is very important to the movie, the story is more about the growth of Elizabeth Barrett as a person, and away from her family. Producer Irving Thalberg was big on adapting stage plays to the screen, and while the camera work isn’t particularly creative (it’s often criticized as being basically a films play) the story is still told beautifully. Shearer and Charles Laughton give career best performance. Laughton plays Elizabeth’s father, who love clearly goes beyond fatherly affection. Due to the Production Code, the Hayes Office ordered a re-write of the script to tone down the incestuous subtext, but Laughton famously said, “They can’t censor the gleam in my eye.”

By Katie Richardson

065. It Happened One Night (Frank Capra, 1934)
The first film to sweep the major awards at the Oscars (Best Picture, Director, Actor, and Actress), It Happened One Night is the quintessential Romantic Road Screwball Comedy. Lots of subgenres there. Before Capra started making his well-known “Cpra Corn”, he made some of the best and most subversive films of the 1930s. It Happened One Night is a battle of the sexes, with Gable and Colbert squaring off, verbally sparring, and of course, falling in love. They’re a perfect match, both stubborn and strong willed. I would have loved to see Robert Montgomery in the role (it was originally offered to him, he turned it down), but Gable really is fantastic. In addition to being a wonderful battle of the sexes comedy, it’s also a great illustration of the class divide during the Great Depression.

064. Stage Door (George Stevens, 1937)
Stage Door is a collection of some of the best character actress working in the 1930s. Katherine Hepburn and Ginger Rogers head up the cast, and both give great performances (I’d give the edge to Rogers), but really, I think the movie is all about the supporting actresses who live in the boarding house with Rogers and Hepburn. Some of them were actresses who would become much bigger stars a few years later. Lucille Ball, Ann Miller, Eve Arden, Gail Patrick. Particularly noteworthy is Andrea Leeds. In a movie with big names like Roger, Hepburn, and Adolphe Menjou, it was Leeds who nabbed the Oscar nod with her devastating performance as an actress who had a brief moment of success, only to fall back hard.

063. A Farewell to Arms (Frank Borzage, 1932)
It’s kind of strange that Borzage made so many films about war. Sure, the idea of war generally work well with a lot of his themes. But he hated war so much that he usually had someone else film battle scenes in his films. Nevertheless, A Farewell to Arms, based on the Hemingway novel, it one of Borzage’s many amazing pre-code films. Gary Cooper and Helen Hayes, both giving great performances,  fall in love during WWI. I’m a sucker for WWI movies (there really aren’t enough of them), especially when they’re directed by Frank Borzage and they’re about the spiritual power of love. Helen Hayes’ performance is particularly noteworthy here. I think she was one of the best actresses of the 1930s, and I wish she had spent more time in Hollywood rather than on the stage in New York. She had an extremely natural and down to earth style.

062. The Awful Truth (Leo McCarey, 1937)
Leo McCarey’s The Awful Truth is probably the best example of the remarriage comedy. At the beginning of the movie, Cary Grant and Irene Dunne decide to divorce, and the rest of the movie is spent awaiting their divorce and falling back in love. I like the remarriage comedy because it so often starts at where a story would typically end. In addition to being the perfect example of this subgenre, The Awful Truth is also flat out hilarious. Cary Grant and Irene Dunner were two of the most talented comedians of the silver screen, and they worked brilliantly together. I so prefer Dunne in comedy over drama. I tend ot find her really dull in dramas, but she really comes to life in the best bubbly way possible in comedy.

061. Footlight Parade (Lloyd Bacon, 1933)
First of all, I love Footlight Parade for it’s amazing cast. James Cagney, Joan Blondell, Ruby Keeler, Dick Powell, Frank McHugh, Ruth Donnelly, Guy Kibbee, Claire Dodd. That’ one hell of an amazing ensemble. Cagney and Blondell are one of the all time great screen couples. They were simply made for each other. Their back and forth bantering is so perfect. Busby Berkeley choreographed many films in the 1930s (and you can always tell which ones are his), and Footlight Parade might be his most impressive effort. The musical numbers are just astounding.

By Katie Richardson

70. 5th Avenue Girl (Gregory LaCava, 1939)
Another great film to come of the Golden Year of cinema, 5th Avenue Girl is something of a somber romantic comedy. It’s a funny movie about poverty and being ignored by your family! Sounds like a howler, right? But really, it manages to be very funny and very touching at the same time. Mary, played with a healthy does of world weary cynicism by Ginger Rogers, is a poor girl hired by Mr. Borden, the always wonderful Walter Connolly, to come live in his home as pose as his new ladyfriend to help him in his attempts to get his family to notice him again. His wife, his son, and his daughter all ignore him while paying attention to his money. The scheme definitely works, but complications arise when the attentions of his son (played by a pretty darn dreamy Tim Holt) toward Mary turn from suspicious to romantic. 5th Avenue Girl joins movies like My Man Godfrey in the category of socially conscious screwballs of the Depression era, but it definitely has a darker tone overall than most of the film of this type. The film is also notable for Verree Teasdale’s performance as Mr. Borden’s wife.

069. Kongo (William J. Cowen, 1932)
There are some movies that have such a strong atmosphere you can actually feel it physically, on your skin and in your bones. Kongo is one of those movies. It’s a film with such deplorable characters and horrible goings-on that it really could only come out of the pre-code era. And it has an atmosphere of so much wrongness, dirtiness, and sexuality that it almost oozes off the screen. Walter Huston is incredible as the depraved Flint, a cripple who reigns over a cult of natives in Africa. He’s a twisted individual who’s completely self obsessed and bent on revenge. In the film, most of his wrath is brought down upon Dr. Kingsland (Conrad Nagel), a doctor who he kidnaps in hopes that he’ll be able to heal him, and Ann (Virginia Bruce), the  main pawn in his revenge scheme. The brutalizes the two of them, getting them addicted to drugs and forcing Ann into prostitution. It isn’t a pleasant movie to watch, but it is an incredible look at the darkest side of human nature you could possibly find. Along with Huston’s masterful performance, Nagel and Bruce are incredible. Their characters become so broken and hopeless. They’re really the only sympathetic characters in the film, and watching them be just so utterly destroyed is pretty heartwrenching.

068. Anna Karenina (Clarence Brown, 1935)
It’s kind of amazing that a studio would even attempt an adaptation of Anna Karenina, a story that’s all about adultery, after the pre-code era. Despite the restrictions of the era, of the many adaptations of Tolstoy’s novel, Clarence Brown’s 1935 version is probably the best. This was actually the second time Garbo had played Anna Karenina. She’d made a silent, modernized version in the 1920s opposite her then paramour John Gilbert, entitled Love. The role is one that suits Garbo and her talents so amazingly well, and it’s hard for any other actress in the  role to measure up to her.  Particularly impressive are the moments between Anna and her son. Garbo loved children, though she never had any of her own, and the few scenes she shared with children throughout her career are some of the most purely emotional and open moments Garbo ever had onscreen.

067. Five and Ten (Robert Z. Leonard, 1931)
While Marion Davies was always at her best in comedies, she did have some seriously dramatic acting chops. Where so many films during the Depression were about the poor, Five and Ten told the story of a family who acquires new wealth, and the negative effects that has. So I guess it sort of said to the Depression audiences, “Don’t feel bad about being poor. Look at how awful and miserable the people who have money are.” The film looks at the Rarick family as they become members of the new rich. Instead of being blissfully happy with their new money, each family member faces their own problems. Jennifer (Davies), tries to become a member of society, but is generally shunned because she doesn’t come from old money. Her mother (Irene Rich) is bored with her life since her husband works so much, and she takes up with gigolo. Avery, Jennifer’s brother, played by Douglass Montgomery, spends all his time worrying about the problems of his family and it starts to drive him a little crazy. Where the wealthy families in films like Merrily We Live are endearingly nutty, the Raricks are an incredibly sad family to watch.

066. Follow the Fleet (Mark Sandrich, 1936)
There are so many ways in which this is not your typical Astaire/Rogers musical. First, fter Flying Down to Rio, Fred and Ginger were almost always cast as the leads. This time they share pretty equal screentime with a less interesting, but still charming, couple comprised of Randolph Scott and Harriet Hilliard. Second, the pair usually played characters of considerable wealth, or were, at the very least, comfortable. In Follow the Fleet, he’s a sailor and she’s working hard at a dance hall just to make ends meet. Finally, this is the only film in which one of their dances breaks character and they’re actually performing the dance as other characters. These differences make for a breath of fresh air in the Astaire/Rogers canon. For once they’re a completely ordinary couple, trying hard to raise some money. The films features two of their best dances, the beautiful “Let’s Face the Music and Dance”, and “I’m Putting All My Eggs In One Basket”, a lighter number which shows off Ginger’s incredibly gift for physical comedy.

075. Hide-Out (W.S. Van Dyke, 1934)
Hide-Out is a mobster movie in so much as it’s about a mobster. But instead of being a Little Caesar type story of the rise and fall of a gangster, it’s a romantic dramady. Montgomery’s Lucky really is no good. When he ends up at the Miller family farm after being shot, he intends to use the family’s kindness for as long as he can until he recovers and then return to his life of crime. But he starts to actually genuinely like the family, especially Pauline, the daughter, played by a charming Maureen O’Sullivan. At first he is after that one thing that bad boys are after when it comes to girls, but he realizes her really loves her and that makes him want to turn his life around. The movie is a really good piece of character development for Lucky, and Montgomery’s performance as both the heartless Lucky and the changed man is very good. He makes the development feel very natural. The love story, while simple, is surprisingly romantic, and there’s a an incredibly charged scene where Lucky and Pauline take refuge in an empty house during a rainstorm.

074. City Girl (Murnau, 1930)
FW Murnau was a really interesting director. It’s kind of fascinating to compare his other films, like Nosferatu, Faust, and even Sunrise with his 1930 silent film City Girl. On the surface, it’s a very different kind of film. It’s visual style is much simpler than most of his previous efforts (but no less stunning), and it doesn’t have the massive dramatic punch. It’s a much smaller, more intimately set story about love and family and finding your place. Mary Duncan and Charles Farrell (who were fantastic together the year before in Frank Borzage’s The River) play the young lovers who come from two different worlds, and their chemistry manages to carry much of the film.

073. Libeled Lady (Jack Conway, 1936)
William Powell and Myrna Loy made a huge amount of films together. Their most notable are obviously the Thin Man movies, but Libeled Lady is easily their best non-Thin Man movie. I’m a big fan of the love-quadrangle thing in old movies, and this movie has one of the best. Powell, Loy, Spencer Tracy, and Jean Harlow make a great team, and it makes for three of the best pairings in classic romance – Loy and Powell (obviously), Tracy and Harlow, and Harlow and Powell. I think Harlow’s performance is particularly impressive because she spends a good portion of the movie acting like the last thing she wants to do is marry Powell, when in reality that was what she wanted more than anything (Powell and Harlow were an item until her death in 1937).

072. Shall We Dance (Mark Sandrich, 1937)
Shall We Dance really doesn’t get a lot of love among the Astaire/Rogers films, which is unfortunate and not entirely fair. Sure, while the dancing is good, it doesn’t really match a few of their other films, and with the exception of “Let’s Call the Whole Thing Off” there isn’t an amazingly memorable number. But what it lacks on the musical front it makes up for by having one of the most original stories and the pair’s film canon. No mistaken identity here. Fred and Ginger play two famous dancers who the press mistakingly think are married. It’s a good premise that leads to some fantastic comedy, and great performances from its leads. Especially Ginger, who spends much of the movie acting annoyed and put out by Fred’s obvious attractions. And while there’s no mind blowing dance accompanying it, “They Can’t Take That Away From Me” is one of the best songs Fred ever sang, and Ginger’s reaction shots to it are beautiful.

071. Midnight Mary (William A. Wellman, 1933)
Thanks to the ultra-pious good girl image she cultivated for herself in the late 1940s and 1950s, when people think of Loretta Young think almost exclusively of that ultra-pious good girl. So a lot of people are often surprised to go back in her filmography and look at her pre-code work, in which that good girl was a far away thing. This is especially true of Midnight Mary, an amazing character study where Young plays one of the most flawed heroines of the era. Mary gets dealt a shit hand early on, and her life just devolves from there, from prostitution to a dangerous relationship with a violent criminal. This film is so obviously pre-code. It seems that every time Mary makes a strong moral decision, it backfires on her completely, but whenever she does something bad things kind of work for her. In the end, Mary is her own worst enemy, thinking that she doesn’t deserve any better than the life she has. Young’s performance is incredible, and this is one of the best characters to come out of the decade.

By Katie Richardson

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