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