095. The Gay Divorcee (Mark Sandrich, 1934)
After their show stealing supporting performances in Flying Down to Rio, RKO paired Fred Astaire and Ginger Rogers in their first starring vehicle in 1934, The Gay Divorcee. The set up of mistaken identity definitely established a standard story point for many of their films in the following years, but Fred and Ginger are always so charming that nobody really cares that the plots all look kind of the same. The Gay Divorcee is definitely noticeable as an early entry in the pair’s canon. The dancing isn’t quite as awe inspiring as it would be a few years later. But what they may lack in technical proficiency, they make up for with chemistry. Fred and Ginger are one of the all time greatest screen teams because of all the ways they clicked together on screen, with or without the dancing. As always, they’re surrounded by a wonderful supporting cast including the delightfully daffy Alice Brady and the dependably befuddled Edward Everett Horton.

094. Inspiration (Clarence Brown, 1931)
Inspiration, Greta Garbo’s third talkie, is often dismissed as lifeless, and it’s leading couple (Garbo and Robert Montgomery) as being without passion. It’s easy to see how some might think that, seeing as how it’s surrounded by pre-code melodramas being made at the same time. But this film is anything but lifeless and passionless. It’s simply a lower-key melodrama than most films that were being made at the time. For addressing such a typically pre-code topic, it remains a remarkably gentle and patient movie. Garbo played a lot of these long suffering, self-sacrificing women, who loved their men enough to know when to leave. She played the character so many times because she was good at it, and it worked, as it does here. The relationship between Montgomery and Garbo is a lot less in your face than so many of her other pairings, because in this case we’re dealing with a man of extreme repression. There’s a lot going on underneath the surface with Montgomery, and their relationship, in this movie. Inspiration is all about the thing going on just outside of our line of vision. That’s why it usually needs to be seen more than once. You have to realize where you’re supposed to be looking.

093. Romance (Clarence Brown, 1930)
This vaguely titled melodrama is the ultimate forbidden love story. Greta Garbo, at her absolute most beautiful, is an opera singer with quite a past who falls in love with a man of God played by Gavin Gorden. Director Clarence Brown isn’t particularly creative with the camera (save for one particularly tense and steamy scene between the lovers toward the end), but he makes up for it with lush and glamorous costume and set design. Garbo’s gowns in this movie are exquisite. The fact that the story is so simple is what makes the film special. There are no crazy twists and turns. We know the way it’s going to end the second the story starts. It’s the knowledge of the inevitable which makes watching the love story unfold so heartbreaking. This is the love story from which so many modern love stories derive.

092. What Price Hollywood? (George Cukor, 1932)
Five years before William Wellman’s A Star Is Born became the cautionary tale for young stars exceeding their mentors, George Cukor’s What Price Hollywood told the same basic story, with an even more heartbreaking twist of unrequited love. Constance Bennett is the young starlet here, every bit as charming as the naive Hollywood newbie as she is as the seasoned Hollywood vet. The criminally underrated Lowell Sherman is her mentor, a gifted producer who teaches her how to be a star. Unfortunately he’s a drunk, and the more her star rises, the more his falls, and his unrequited love for her doesn’t help, especially when she married another guy. In the early 1930s, the film industry was still relatively young, and it wasn’t an entirely usual thing for people on the inside to take a cynical look at the inner workings of their bread and butter. It had been done before, of course, but not quite as brutally and heartbreakingly as it was in What Price Hollywood. It showed, beyond a shadow of a doubt, that even the ones who seem like they have it all don’t have it all.

091. Lovers Courageous (Robert Z. Leonard, 1932)
The set up and story for Lovers Courageous, Robert Z. Leonard’s stunningly visual ode to the complications of love, is rather simple. Rich girl meets poor boy. In any other movie, this set up might lead to some pretty humdrum boring stuff. But when the girl is the endlessly charming Madge Evans and the boy is sexy and suave Robert Montgomery, you’re well on your way to an entertaining movie experience. Add to that the fact that Robert Z. Leonard managed to express the beauty of love on front of the camera with some surprisingly gorgeous settings and camera work, and you’re got a pretty nice little love story to kill less than an hour and a half with. Montgomery and Evans are one of the unsung duos of classic film. They made some of the best romances of the 1930s together, and had the perfect spark and chemistry for each other. Montgomery, who is often known for playing snarky men of considerable means, is quite low-key here, a humble and romantic minded playwright who enjoys the simpler things in life, specifically the beauty of one Miss Evans. It’s a charming, visually pleasing love story with a satisfying conclusion and a couple that’s impossible not to root for.

Stay tuned for 90-86

By Katie Richardson

Wow, two big birthdays in a row!

Robert Montgomery is just my absolute favorite ever. An amazing actor, a fantastic director, and very handsome man.

Montgomery had a wonderful talent in front of the camera. He could play almost any kind of character in any kind of movie. Romantic melodrama, screwball comedy, even psychological thriller. Montgomery could do it all and he could do it brilliantly.

Sadly, he’s not as remembered today as he should be. He deserves to be remembered among the greats of the 1930s and the 1940s. Nearly all of his films could be considered obscure classics. I’ve seen 54 of his films, but I don’t want to go overkill here. Instead of just listing my favorites, I’m going to do a nice little service for everyone and talk about the rare films that you can get at http://www.freemoviesondvd.com

The Big House (1930) – Montgomery costars with Wallace Beery and Chester Morris in this prison drama. Those of you who are mostly familiar with Montgomery as the suave playboy are in for a treat here, with Montgomery going against the type he would late establish for himself by playing something of a nervous weasel.

The Gallant Hours (1960) – Montgomery directs this war drama starring James Cagney. It’s a really interesting war film, done without battle scenes.

Fugitive Lovers (1934) – Montgomery stars with my favorite of his leading ladies, Madge Evans, in this really sweet road film about an escaped convict and a showgirl who fall in love when they meet on a bus.

Hide-Out (1934) – Montgomery and Maureen O’Sullivan make a really sweet pairing in this unique, but genuine love story about an injured gangster who finds sanctuary with a family on a farm. He falls in love with the sweet daughter. This movie has one of the absolute most romantic scenes of the 1930s.

June Bride (1948) – Not a great film, but it’s pretty fun and Montgomery and Davis have decent chemistry together.

When Ladies Meet (1934) – Definitely not one of my favorite Montgomery films. Kind of dull and the characters are all pretty unlikeable. But you get to see Bob with two of his best leading ladies, Myrna Loy and Ann Harding.

Haunted Honeymoon (1940) – I really enjoy this movie. Robert Montgomery and the completely lovely Constance Cummings play reluctant crime solvers who get sucked into a murder mystery on their honeymoon. A colorful cast of characters and a good romance between its leads makes this movie really fun.

The Saxon Charm (1948) – I still haven’t gotten my hands on this one yet (soon, oh very soon), but it’s available and I think it looks pretty good.

Ride the Pink Horse (1947) – A really brutal noir that doesn’t shy away from violence. Montgomery gives a really good performance, as well as directs.

Inspiration (1931) – This movie doesn’t get enough love. A lot of people say that Montgomery and Garbo just didn’t go well together, I think their restrained, under the surface chemistry was perfect for this movie about repressed love and sexuality.

The Single Standard (1929) – Yeah, I’m cheating on this one. Montgomery is just an extra in this film, but it’s one of my very favorite Garbo movies and everyone should see it.

The Last of Mrs. Cheyney (1937) – Another Montgomery movie that I just downright adore. Joan Crawford was one of his best costars. This is a really fun and unique story about jewel thief Crawford falling for Montgomery, the nephew of her mark.

Letty Lynton (1932) – A fantastic pre-code melodrama with Joan Crawford giving one of her best performances

Faithless (1932) – A beautiful Depression era romance. Bob and Tallulah Bankhead are perfect together. Montgomery gives a really wonderful performance, but this movie belongs to Bankhead.

Fast and Loose (1939) – I’m such a sucker for screwball detective movies, especially when they star Robert Montgomery and Rosalind Russell.

Night Must Fall (1937) – This is probably Montgomery’s best performance. He completely breaks type to play a creepy, tortured, insane murderer.

There you go. freemoviesondvd.com is a wonderful resource. You pay less than $10 for each DVD (and that includes shipping) and these films (and so many others they have) are more than worth it.