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