1930s Hall of Fame

OK thanks, I was just wondering. We've had a couple of 30s comedies in past Hofs. The two others that come to mine is Bringing Up Baby and My Man Godfrey. I didn't like Bringing Up Baby until like the 4th watch!

I suppose I wouldn't have given a film that many chances

Either would I normally, but what happened is I watched Bringing Up Baby years ago and didn't like it. Then it was nominated in the 11th HoF, so I watched it again and still didn't like it. Then the next night I re-watched it with commentary from Peter Bogdanovich who loved the film and talked about how revolutionary it was...I still didn't really like it but could see why it was considered great. Then it was part of the Director Dissection of Howard Hawks, so I had to watch it a 4th time and then it finally clicked and I ended up liking it.

I hadn't noticed this HOF until everyone had already sent in their nominations, but I just wanted to say, if anyone starts a '30s Pt. II list, or whatever the next HOF will be, I'd appreciate receiving a notification of that (whether it's a message or mention).
Thanks guys!

These films here all look interesting. Some were already on my watchlist, and I added the rest. I'll check 'em out at some point.

I would not object to you submitting a film and joining late

Mija, would love to have you join another 30s Hof. I'm hoping when this one is done we could do a 30s Part II. I'm sure it would be small with not many members, so it would be easy to do.

I'll try to remember to PM you an invite when it starts. If I forget to do that, someone will hopefully give you an @mention or a PM to let you know.

Would be very cool to have you continue to join in future HoFs and I'll try to help to get the mention out to you as well.

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Pepe Le Moko (1937)

I love the world of the Casbah, that the film builds...it's the real star of the movie. The film builds the Casbah world on multi layers, literally! From the dark corridors, to the crowded streets, to the overhanging terraces, it's a three dimensional set! That's why I went with a 4 pic montage. as the sets are so varied and so rich that I just couldn't settle on one lead photo.

I read that some of this was actually filmed in Casbah, Algeria (the wide shots)...which is very impressive for 1937. And even the sets they built do the film wonders in creating an interwoven catacombs, where the master criminal Pepe Lo Moko hides out. I can only think of a few 1930s films that have such 'world building' sets and this is one of the most impressive I've seen.

Beyond the location and sets, I did like the film but I didn't really connect to Pepe as the short run time didn't give a big chance for characterization. Which is OK, as this film isn't trying to do that. Instead it's a classic French detective-sleuthing story where a likeable roguish master criminal is outsmarting the detectives at every turn. The story reminded me of the master French detective Poirot.

I feel the movie is even better than I think. I did have a hard time keeping up with all the dialogue at times, especially the opening scene in the French police station. At times I lost track of who was saying what as there was overlapping and fast dialogue. I get the feeling if I spoke French the film would have had even more meaning for me. As it was, I wasn't into the story all that much, but I did really appreciate the amazing sets!

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I should get Child Bride up tomorrow. Probably Make Way For Tomorrow as well. Got a few days off here.

Some of these images are still stuck in my head from the other day. Cool contrast there between the vastness of the rooftops and the cramped feel of the streets below.

Another thing I liked about Pepe Le Moko was the title. I kept saying it to my wife Pepe Le Moko Pepe Le Moko Pepe Le Moko, just to annoy the crap out of her. I did the same thing with Scaramouche and The Babadook

What does she chant back - "Douchebag Douchebag Douchebag"?

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Something like that

I KNEW you'd dig the sets, @Citizen Rules!!

The only thing I knew about this movie going in was that it was too disturbing/bad for MST3K. They actually didn't want to say the film's name in case anyone went to find it. I can't say that I blame them as there's an air of awfulness running through this film. Who was the audience for this in 1938? Apparently it's meant to be educational but continually goes off on random pointless tangents. With a poorly paced plot straight out of the worst serials. This education strapline just sounds like a way to skate around the Hays Code.

Genuinely awful acting from every single person. There's not a redeeming performance here to be seen with so many terrible lines. Particularly notable on that front is any section of dialogue involving school teacher Carol. The children are irritating too. The connection between Jennie and Freddie is non existent which hurts the film majorly. Freddie is meant to come across as sympathetic, but his acting is so weirdly awkward and not in a believable way either.

There's no cinematic flourishes in this one that I can point to as being impressive or original. That is disappointing as I was hoping for a redeeming feature but it's poor on that front as well.

I don't know if you've had a chance to read my write up on Child Bride, but I took a guess as to who the movie was intended for back in 1938.

In terms of movies that dance on the line of heavy handedness, Make Way is incredible in the way it approaches inner family dynamics. It's a film about the seeming inevitability that things will end badly, the awkwardness that can develop from a generation gap and also captures minor social situations perfectly. Simple things like how just being welcoming or kind can brighten someone's day. The contrast between how strangers treat Barkey & Lucy and how their family treats them highlights this well. It could have been straight forward to portray the children in this story as complete antagonists with little depth but that's never the case. The quality screenplay deserves praise for making these characters feel truly alive and how they would behave as they do under these circumstances. Barkley & Lucy Cooper are in no way perfect but are just trying to deal with the harsh reality of old age post Depression.

Beulah Bondi is so good, her's being a central performance that carries much of the film's mood swings. I found the first hour of this movie to be flat out uncomfortable at certain moments, down to the situations that Lucy finds herself in. The moments of happiness and reminiscence are effective because of these moments of sadness. And yes, the fact that she's 48 here is crazy. Awesome make up work on this film. The rest of the cast are very good too. Maurice Moscovitch's scene with Victor Moore as an example shows off the acting chops of both.

One of the most well known stories about this film is that when Leo McCarey accepted the Best Director Oscar for The Awful Truth he said; "Thanks, but you gave it to me for the wrong picture." It's not a surprise that The Awful Truth received more love at the time even if I'm in agreement with Leo. It would be an interesting double bill that's for sure.

Ballot sent.

Thanks Nathaniel, glad you joined


I should be finishing up in a couple days, I have one more to watch, The Scarlett Empress. I hoped I could get it from Netflix DVD, but it says it's a Long wait, so I'll have to watch it elsewhere.

Sometimes it says long wait but then they suddenly ship it. It happened to me this week with another movie.

I always seem to have to wait like 3 months. With Wagons East I must have waited more than half a year for it. Sometimes I don't know about Netflix DVD