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

100. Liliom (Frank Borzage, 1930)
It’s not exactly the easiest love story for a modern generation to swallow, despite the fact that in its musical form (the wonderful Carousel) it’s one of the most beloved romances of all time. Nevertheless, with its endlessly flawed hero, his doormat wife, and their unconventional version of love, this is one romance that modern feminists aren’t going to be fans of. And it’s true, in its final moments, trying to sell physical abuse as some kind of sign of affection doesn’t really work as well as it wants to. But before that point, director Frank Borzage still managed to do what he always did best: he took an immensely flawed couple with an even more flawed relationship and made it beautiful. Liliom and Julie’s marriage isn’t near perfect. He’s lazy with a bad temper, she allows him to walk all over her. But underneath it all, there is a deep love there and an understanding that the pair has for one another that is unparalleled.  And even in the end, while (perhaps ill-advisedly) sugar coating Liliom’s domestic abuse, Borzage never let’s Liliom off the hook, which leaves us with a heartbreaking conclusion. Despite what seems to be an uplifting ending, we really know that even with the best of intentions, even in death some men can’t change.

099. Made For Each Other (John Cromwell, 1939)
Carole Lombard is one of the greatest comedic talents to ever appear on the screen. Because she’s so famous for her comedic efforts, her dramatic performances are, at best, often forgotten, and, at worst, ridiculed as being “a waste of her talent”.  But her talent really did shine through in her dramatic roles, and Made for Each Other is proof of that. The film is a unique love story. In most romances we get to see the falling in love part, with “happily ever after” being the end of the story”.  Here, it’s the beginning, and it’s not so much “happily ever after” as it is “with a whole lot of bumps along the way.” Marriage is hard work, and this movie shows it, complete with disapproving mothers-in-law, terrible bosses, and sick children. It still hold up particularly well today as proof that, no matter the decade, marriage comes with the same problems and the same responsibilities. Made For Each Other is a dose of reality, maybe not one that everyone wants to see, especially from the classic era, but one that’s honest and, because of that, rewarding.

098. History Is Made At Night (Frank Borzage, 1937)
It’s not secret that director Frank Borzage was all about the transcendent power of love and all the spirituality that entails. It’s a hallmark of his films, and it figures quite prominently in History Is Made At Night. But what’s most prominent in this little romantic oddity is an element that’s only a latent theme in his other films: the battle between good and evil. Underneath the surface of a lush romance is a very primal tug of war between two forces. The evil is personified in the quite substantive form of Colin Clive’s downright deranged and insanely jealous ex-husband, while the good is represented less by the lovers (Charles Boyer and Jean Arthur), and more by the undying love that they share. With shifts between romantic comedy, psychological drama, and disaster film, History Is Made At Night may seem downright schizophrenic at times, but no matter what genre it’s veering into, it always maintains Borzage’s warmth, romance, and optimism.

097. Heroes For Sale (William A. Wellman, 1933)
Unflinching yet still somehow optimistic, Wild Bill Wellman’s Depression-era saga Heroes For Sale is one of the decade’s best glimpses into the way times really were for millions of Americans. It’s not just one problem for leading man Richard Barthelmess. It starts with one thing and then just starts to snowball from there. It’s pre-code in the best possible way, dealing with issues like drug addiction head on, and never pulling its punches (there’s a character death which leads to one shot that is one of the most startling in all of classic film). Wellman wasn’t afraid to make things as dark as possible for his characters, because that’s the way things were in the world around him, and somehow, like no other director really could, he balanced this crushing sadness with a certain amount of hope. Even though they couldn’t see the light at the end of the tunnel, it was there, somewhere, and eventually they would see it, if they just kept looking.

096. Pygmalion (Anthony Asquith and Leslie Howard, 1938)
Despite all the fawning that goes on over the overblown My Fair Lady, the gloriously simple 1938 version of Pygmalion is still the best version to ever appear on the big screen. Everything about this movie is perfect, from its head to its toes. Wendy Hiller is the best Eliza Doolittle there possible could be, beautiful enough to be convincing as the lady she becomes, but with just enough grit and uniqueness to keep her believable as the lovable street urchin. Leslie Howard’s refined gruffness is inimitable, and the chemistry they share is one of a kind. The story of Pygmalion is special in that it’s a love story without being a romance. It’s not about falling in love, and the big dramatic feelings that come with it. It’s about companionship, finding where you fit. What a novel idea, to sell that as such a quiet, unassuming thing as this.

Stay tuned for 95-91.

By Katie Richardson