090. Anna Christie (Clarence Brown, 1930)
MGM kept Greta Garbo in silent films longer than any other star in Hollywood. It wasn’t until 1930 that she made her talkie debut in the title role in Anna Christie.  It was really the perfect role for Garbo – the world weary prostitute of Swedish descent. The film is based on the play by Eugene O’Neill, who wasn’t the sunniest of playwrights. It’s a grim and gloomy story that could have easily been bogged down by its own sadness and despair had director Clarence Brown not put such importance on the family dynamic between Anna and her father, played by George F. Marion. Anna hides her past from her father, with whom she’s recently been reunited, for fear of disappointing him. While there is a love story in the film, the movie is really about the relationship between a father and daughter and the difficulties they have relating to one another after being separated for 15 years.

089. Of Human Bondage (John Cromwell, 1934)
Bette Davis had been working steadily in mostly unremarkable pictures until 1934 when she appeared in her breakout role in Of Human Bondage. Davis was a brave actress. Not many would take on a character as vile and horrible as Mildred, and even fewer would work so hard to make the character as horrible as possible. As a result, Davis created one of the biggest film bitches of all time, and cemented her place in Hollywood history as one of the all time greats. W. Somerset Maugham’s story of obsession and abuse is a dark one, filled with characters you can never quite feel sorry for. Nevertheless, watching the power Mildred holds over Leslie Howard’s Carey and the inexplicable pull he feels toward her is fascinating to watch. We’re basically watching a series of events that leads to a train crashing. We recognize that these things are going to lead to a disaster, we’re powerless to stop it, but it’s impossible not to be entranced by it.

088. Vivacious Lady (George Stevens, 1938)
Ginger Rogers and James Stewart were close friends for most of their lives, and they shared a really amazing chemistry on screen. In the 1930s and 1940s, they were both the “every man” (or woman) stars. Unlike much of Hollywood, which seemed glamorous and untouchable, Stewart and Roger seemed like they belonged with us. Like they were regular Joes. And pairing the two worked so well on film. Which is why it’s surprising that the only made one movie together, the delightful romantic comedy Vivacious Lady. The basic story is a little hackneyed – Stewart comes from a wealthy and respectable family, so he’s afraid to tell them that he’s married a showgirl – but the fact that director George Stevens can take that story and make something so funny and heartfelt is what’s beautiful about the whole thing. The romance between Stewart and Rogers feels incredibly genuine, and the family dynamic, while screwball and therefor a little daffy, actually feels real and honest. Despite the screwball elements, this is a movie that feels true.

087. Living on Velvet (Frank Borzage, 1935)
Living on Velvet is one of Borzage’s less recognized films. On the surface is seems to be a typical romantic melodrama, but it’s actually one of Borzage’s darkest stories. George Brent’s character, Terry, has lost his family in a plane crash while he was piloting, so he spends much of his life basically courting death, even after he marries Kay Francis’ Amy. He’s so much more damaged than any of Borzage’s other heroes. So damage that not even his love for Amy can save his soul.  Rather, much of the film seems to be about how their love for each other isn’t enough. For once in a Borzage film, it’s the outside forces that his heroes and heroines are usually so isolated from which are needed to save their lives. It’s an interesting departure for Borzage, less spiritual and certainly darker.

086. Dodsworth (William Wyler, 1936)
Hollywood romances, in both classic and modern film, are usually about young people. While it’s becoming a bit more common in current film to give older people the spotlight, that was a rarity in classic film, which makes Dodsworth a breath of fresh air. The leads are Walter Huston and Ruth Chatterton, 52 and 44 years of age, respectively. Chatterton was lucky enough to have an ageless face, and was able to play the leading ladies in roles that might have gone to younger actresses for much of the 1930s. But in Dodsworth she embraced her age to play an older woman, the mother of an adult child, and the wife of a man who’s just retired. The film continues to be unconventional, telling the story of a long time romance unraveling. It’s sometimes heartbreaking to watch, but it’s such a well done film that you can’t tear your eyes away. It’s also brilliantly performed by its entire cast, especially Chatterton, who isn’t afraid to reveal the incredibly unlikable traits of her character.

Stay tuned for 85-81.

By Katie Richardson

It’s that wonderful time of the year again! It’s nearing the Academy Awards. In less than a month, we’ll see who gets to take home the statue.

I always wonder, “Will anybody even remember some of these nominees 70 years from now?” There are certainly a lot of Best Picture nominees from the past that have completely left the public’s  memory. So I figured I’d try to help people remember. Here are some of the best obscure and forgotten Best Picture  nominees of the classic era.

The Racket (1928.)
The Racket was nominated for Best Production at the very first Academy Awards. John Cromwell (who directed some of the all time greatest melodramas) directed this crime tale, making it on of the definitive crime stories of all time. Because it was unavailable for so long, it’s been overshadowed by gangster classics like Public Enemy and Little Caesar, but it deserves to stand up there with the rest of them. Watching The Racket is almost like observing a little slice of the time. It lacks glamor, and it a downright gritty films that really captures the feel of the era it was made and set in.

The Big House (1930)
This prison drama was nominated for Best Picture the year that  the WWI masterpiece All Quiet on the Western Front took home the prize. The Big House, however, did earn Frances Marion a screenwriting award. It truly is a fantastic script and a beautifully told story about life behind bars. I think what really makes it great is its cast. Chester Morris, Wallace Beery, Robert Montgomery, and Leila Hyams all give top notch performances.

Bad Girl (1931)
One of Borzage’s Depression era masterpieces, Borzage took home his second Best Director Oscar for this film, while it lost to Grand Hotel for Best Picture. Raw and real, it’s a beautiful love story that ignores sentimentality and truly puts you in the time and place of its setting, the Depression

Five Star Final (1931)
This is a brilliant newspaper. Most of the movies you see about newspaper men are comedies (The Front Page, Platinum Blond). Five Star Final is an excellent drama starring Edward G. Robinson as a newspaper man who is struggling with morality and the guilt of a story gone wrong. It’s one of Robinson’s very best performances.

Smilin’ Through (1932)
This is one of my favorite love stories. There are two love stories going on at once, the past and present, bound together forever by desting and blood. Norma Shearer’s performance is top notch, and it’s told so meticulously, perfectly, beautifully, and emotionally. I wish love stories like this were made today.

The Barretts of Wimpole Street (1934)
This is definitely Norma Shearer’s finest dramatic performance. She plays the ill poet Elizabeth Browning, and the film tells the story of her relationship with her tyrannical father, and falling in love with Robert Browning. It’s a great love story, but the most interesting part of the film comes from the strange relationship between Elizabeth and he father, playing absolutely brilliantly by Charles Laughton.

Dodsworth (1936)
It isn’t often you find a movie like Dodsworth. Instead of focusing on young lovers, it tells the story of an older couple after the husband retires. Not only does it focus on older characters, it also deals with the characters facing their older age. Both Walter Huston and Ruth Chatterton are amazing, not fearing playing these older characters.

Dead End (1937)
This is one of the strongest gangster films ever. It’s not about the life of crime.  It subtly shows the evolution of the gangster, a victim of circumstance. We see a young gang that will probably eventually turn into the character portrayed by Humphrey Bogart. Claire Trevor received a Best Supporting Actress nomination for a performance that’s only a few minutes long, but absolutely perfect and beautiful. The whole cast is amazing. It’s a brilliantly performance film.

Four Daughters (1938.)
This movie almost doesn’t seem like it fits among the other nominees (among them Jezebel, Pygmalion, The Grand Illusion) until you see that the winner was the small comedy You Can’t Take It With You. Four Daughters is a very quiet family drama that draws from its complicated and conflicted characters to form its story. This movie made John Garfield a star. He was nominated for Best Supporting Actor.

To be continued…..

By Katie Richardson