Reply to Topic
This is my favourite genre along with horror. The 30s in films were the greatest time of all for loads of different movies and these are my favourites from this era.
My favourite movies from the 1930's
→ in Movie Reviews
200. The Prince and the pauper
Directors: William Keighley and William dieterLe
Mark Twain's classic tale of a pair of look-alike boys in 16th century England is given the glossy Hollywood treatment in this very entertaining effort. Billy and Bobby Mauch, 12 year old twin brothers, star, one as the heir to the throne of England and the other as a street urchin. By accident, each is mistaken for the other and when the king dies, the pauper may be crowned instead of the rightful prince. Claude Rains is his usual steady self as the traitorous wretch who realizes his chance to seize power with the pauper in charge. Errol Flynn may be billed as the star, but he does not appear until halfway through the film. He becomes the prince's protector. Of course, he does not know that the young beggar is the prince. Flynn is good as always in this fun filled film.
Directors: William Keighley and William dieterLe
Mark Twain's classic tale of a pair of look-alike boys in 16th century England is given the glossy Hollywood treatment in this very entertaining effort. Billy and Bobby Mauch, 12 year old twin brothers, star, one as the heir to the throne of England and the other as a street urchin. By accident, each is mistaken for the other and when the king dies, the pauper may be crowned instead of the rightful prince. Claude Rains is his usual steady self as the traitorous wretch who realizes his chance to seize power with the pauper in charge. Errol Flynn may be billed as the star, but he does not appear until halfway through the film. He becomes the prince's protector. Of course, he does not know that the young beggar is the prince. Flynn is good as always in this fun filled film.
I enjoy your lists, but they would all be much more interesting and easier to follow if you stuck to one at a time.
X
Favorite Movies
X
User Lists
I enjoy your lists, but they would all be much more interesting and easier to follow if you stuck to one at a time.
Oh I'm sorry cricket. The one I've been working on is on hold because I only have films up to 2006 and need to sort some more put so while I'm doing that I thought I'd do this one
199. Twentieth century
director: Howard hawks
Twentieth Century is a super-comedy where humor lurks under every scene. It's not just how funny it is while watching it, it's the depth of the humor. The humor is so thickly layered that it simultaneously creates both laughter and admiration for the abundant talent. Leading things off is John Barrymore, who seems especially inspired and possessed by his part in this film. All those years of Vaudeville and silent movies coalesced with his great sense of delivery to create the part of theater producer and wannabe director Oscar Jaffe, while Carole Lombard seems to crystalize into her role as the film progresses so that by the time they meet again on the Twentieth Century from Chicago to New York, she's just about his equal. However, all the other parts in this film are just about as memorable. This film seems possessed by a comedy lifeforce that makes it much more than just another screwball comedy from the 30's.
director: Howard hawks
Twentieth Century is a super-comedy where humor lurks under every scene. It's not just how funny it is while watching it, it's the depth of the humor. The humor is so thickly layered that it simultaneously creates both laughter and admiration for the abundant talent. Leading things off is John Barrymore, who seems especially inspired and possessed by his part in this film. All those years of Vaudeville and silent movies coalesced with his great sense of delivery to create the part of theater producer and wannabe director Oscar Jaffe, while Carole Lombard seems to crystalize into her role as the film progresses so that by the time they meet again on the Twentieth Century from Chicago to New York, she's just about his equal. However, all the other parts in this film are just about as memorable. This film seems possessed by a comedy lifeforce that makes it much more than just another screwball comedy from the 30's.
Oh I'm sorry cricket. The one I've been working on is on hold because I only have films up to 2006 and need to sort some more put so while I'm doing that I thought I'd do this one
X
Favorite Movies
X
User Lists
Oh I'm sorry cricket. The one I've been working on is on hold because I only have films up to 2006 and need to sort some more put so while I'm doing that I thought I'd do this one
Ok thank you and I'm determined to keep this one up. I have a low attention span so if somethings taking too long I move on to something else.
I'm determined to keep this one up though
I enjoy your lists, but they would all be much more interesting and easier to follow if you stuck to one at a time.
X
Favorite Movies
Is there someone who can delete my other one?
X
Favorite Movies
[quote=Camo;1518661]
The mods won't delete the other one because other people have posted in it, i tried with one before
Ok
Is there someone who can delete my other one?
Ok
198. Crime and punishment
I must admit that I found this film to be intriguing and as a result, I liked it! One can clearly see that it's a B-film. But, who cares? It's never as cheap looking as those Monogram low-budgeters from that era and it was directed by one of the masters, Josef Von Sternberg. Peter Lorre gives a good account of himself as a man who tries to cover up a crime that he committed. He is dogged by a somewhat good-natured police inspector played by Edward Arnold and is helped onto the road of redemption by a kind, angelic prostitute played perfectly by Marian Marsh. Dostoyevsky's long novel has been adapted into a tight 88 minute feature film, which runs along smoothly and is never dull. "Crime and Punishment" is a film which is intelligently written, directed and acted.
I must admit that I found this film to be intriguing and as a result, I liked it! One can clearly see that it's a B-film. But, who cares? It's never as cheap looking as those Monogram low-budgeters from that era and it was directed by one of the masters, Josef Von Sternberg. Peter Lorre gives a good account of himself as a man who tries to cover up a crime that he committed. He is dogged by a somewhat good-natured police inspector played by Edward Arnold and is helped onto the road of redemption by a kind, angelic prostitute played perfectly by Marian Marsh. Dostoyevsky's long novel has been adapted into a tight 88 minute feature film, which runs along smoothly and is never dull. "Crime and Punishment" is a film which is intelligently written, directed and acted.
199. Twentieth century
This film seems possessed by a comedy lifeforce that makes it much more than just another screwball comedy from the 30's.
This film seems possessed by a comedy lifeforce that makes it much more than just another screwball comedy from the 30's.
X
Favorite Movies
X
User Lists
199. Twentieth century
This film seems possessed by a comedy lifeforce that makes it much more than just another screwball comedy from the 30's.
This film seems possessed by a comedy lifeforce that makes it much more than just another screwball comedy from the 30's.
Kevin kline motivated me to see this movie
X
Favorite Movies
X
User Lists
197. Sons of the desert
This is absolutely top-notch Laurel and Hardy, completely encapsulating the essence of their priceless comic personas in just over an hour of brilliant, innocent comedy. You know you're in for a treat right from the opening sequence, where Stan and Ollie arrive at the fraternity meeting slightly late and completely disrupt the proceedings in their stumbling, bumbling efforts to get to their seats! I challenge anyone not to laugh at that! And you'll be amazed at the amount of comedy Stan can wring out of the simple act of walking through a door. They just don't breed comedians like these geniuses any more. Fans of early-nineties 'laddish' knockabout humour like 'Bottom' and 'Men Behaving Badly' should check this out, just to see that Laurel and Hardy not only did it first, but they did it so much better and with a far greater degree of that most precious of comedic commodities - subtlety.
This is absolutely top-notch Laurel and Hardy, completely encapsulating the essence of their priceless comic personas in just over an hour of brilliant, innocent comedy. You know you're in for a treat right from the opening sequence, where Stan and Ollie arrive at the fraternity meeting slightly late and completely disrupt the proceedings in their stumbling, bumbling efforts to get to their seats! I challenge anyone not to laugh at that! And you'll be amazed at the amount of comedy Stan can wring out of the simple act of walking through a door. They just don't breed comedians like these geniuses any more. Fans of early-nineties 'laddish' knockabout humour like 'Bottom' and 'Men Behaving Badly' should check this out, just to see that Laurel and Hardy not only did it first, but they did it so much better and with a far greater degree of that most precious of comedic commodities - subtlety.
Kevin kline motivated me to see this movie
Oh oops my bad. Thanks for correcting me.
196. Make way for tomorrow
Make Way for Tomorrow is one of the most personal, heart-wrenching films every recorded on celluloid. Though it's story is utterly sad, nay, depressing, it is one of the most beautiful films ever made. It does not hold back and goes places the heart and mind would not like to wander of to.
We find ourselves in the midst of the Great Depression. A time before social security was put into play. We are introduced to Barkley and Lucy Cooper (Victor Moore and Beulah Bondi), an elderly couple who have just lost their home to the bank. They have known for several months, but saw no need to panic and tell their children just a few days before they are expected to move. The children are none too pleased that their parents are losing their house. More so because they will have to bare the burden of caring for them while they try and find a place of their own. With the unstable economy, it might be a while.
Lucy stays with her son George (Thomas Mitchell) and his wife and child while Barkley stays with their daughter Cora, several hundred miles apart from Lucy. They both find life with their children to be a bit unbearable. They have their good days, but mostly they find themselves getting in the way and becoming a nuisance. George's wife and daughter complain of being constantly bothered and having to deal with Lucy. Meanwhile Barkley health starts to get worse and Cora reluctantly must look after him.
The doctor says that Barkley must move to a warmer climate or else he could get worse. Lucy too finds that she is being shooed away by her own family. It is decided that Barkley must go to California with their other daughter but that only he can go because that is all their daughter can handle at the moment. Lucy and Barkley get together and spend the day with each other before he must head out west.
Just thinking of this sweet couple and what they are going through is hard. After having spent 50 years together, living in the same house and raising five children, to suddenly have everything taken away and having to live far apart must be devastating. They endure and try to make the best, just like they have been doing their whole lives.
One would think that the children, who were raised and cared for by their parents, would be sympathetic and a little less critical about the situation. It's hard to imagine that collectively their children can muster up the heart to care for their aging parents.
McCarey, whose work primarily consisted of both physical and witty comedies, delivers a much darker and emotional whopper of a film. It doesn't hold back and delivers scene after scene a new piece of drama that just makes you want to reach out and help these people. His style is not the most technically advanced, but the story he delivers is second to none. One aspect of his film-making that I enjoyed were the longer shots of conversation and contemplation. It makes the actors work harder and gets a much more personal performance onto the screen.
The acting is spot on. Both Moore and Bondi give fantastic performances, each playing their age perfectly. Somewhat forgetful yet always sincere and never mean. The children too, especially Mitchell, do a wonderful job in conveying their feelings about their situation. It's obvious that these aren't the greatest children in the world, but they are by no means the worst. Mitchell truly feels sorry for his parents, but he is also aware that he has a family that needs taking care of and their needs have been placed higher than his parents.
The final scenes of this film are some of the most intense and moving ever. I mean ever. I have never been more surprised, delighted, and completely torn apart over what was unfolding before my eyes. It's an absolutely brilliant sequence of events, culminating to an end that only a master of his craft could orchestrate
Make Way for Tomorrow is one of the most personal, heart-wrenching films every recorded on celluloid. Though it's story is utterly sad, nay, depressing, it is one of the most beautiful films ever made. It does not hold back and goes places the heart and mind would not like to wander of to.
We find ourselves in the midst of the Great Depression. A time before social security was put into play. We are introduced to Barkley and Lucy Cooper (Victor Moore and Beulah Bondi), an elderly couple who have just lost their home to the bank. They have known for several months, but saw no need to panic and tell their children just a few days before they are expected to move. The children are none too pleased that their parents are losing their house. More so because they will have to bare the burden of caring for them while they try and find a place of their own. With the unstable economy, it might be a while.
Lucy stays with her son George (Thomas Mitchell) and his wife and child while Barkley stays with their daughter Cora, several hundred miles apart from Lucy. They both find life with their children to be a bit unbearable. They have their good days, but mostly they find themselves getting in the way and becoming a nuisance. George's wife and daughter complain of being constantly bothered and having to deal with Lucy. Meanwhile Barkley health starts to get worse and Cora reluctantly must look after him.
The doctor says that Barkley must move to a warmer climate or else he could get worse. Lucy too finds that she is being shooed away by her own family. It is decided that Barkley must go to California with their other daughter but that only he can go because that is all their daughter can handle at the moment. Lucy and Barkley get together and spend the day with each other before he must head out west.
Just thinking of this sweet couple and what they are going through is hard. After having spent 50 years together, living in the same house and raising five children, to suddenly have everything taken away and having to live far apart must be devastating. They endure and try to make the best, just like they have been doing their whole lives.
One would think that the children, who were raised and cared for by their parents, would be sympathetic and a little less critical about the situation. It's hard to imagine that collectively their children can muster up the heart to care for their aging parents.
McCarey, whose work primarily consisted of both physical and witty comedies, delivers a much darker and emotional whopper of a film. It doesn't hold back and delivers scene after scene a new piece of drama that just makes you want to reach out and help these people. His style is not the most technically advanced, but the story he delivers is second to none. One aspect of his film-making that I enjoyed were the longer shots of conversation and contemplation. It makes the actors work harder and gets a much more personal performance onto the screen.
The acting is spot on. Both Moore and Bondi give fantastic performances, each playing their age perfectly. Somewhat forgetful yet always sincere and never mean. The children too, especially Mitchell, do a wonderful job in conveying their feelings about their situation. It's obvious that these aren't the greatest children in the world, but they are by no means the worst. Mitchell truly feels sorry for his parents, but he is also aware that he has a family that needs taking care of and their needs have been placed higher than his parents.
The final scenes of this film are some of the most intense and moving ever. I mean ever. I have never been more surprised, delighted, and completely torn apart over what was unfolding before my eyes. It's an absolutely brilliant sequence of events, culminating to an end that only a master of his craft could orchestrate
195. Four daughters
One of Warner Brothers best and highest grossing films during the Thirties was this charming family drama about a widower who lives with his maiden sister raising Four Daughters. But not four every day type daughters. All of them have been trained by their musician father on instruments and one as a singer. They do make some beautiful music together even if it is for the long haired set.
You can watch the infinite variety of roles that Claude Rains played over the years and still marvel as he shows you yet another aspect of his creative personality. The opportunistic Vichy Captain in Casablanca is as different as the scientist gone mad in the Invisible Man, as the patient and wise Job in Mr. Skeffington. All the same man and all so incredibly different.
Here he raises the four girls with love seasoned with a little grouchiness at their willingness to accept modern music. The Lane Sisters and Gale Page may know Beethoven, but they're hep cats as well and can beat daddy eight to the bar every time. And if Rains gets a bit too testy than Aunt May Robson can put him in his place.
With Four Daughters unmarried at the time you know that's going to change. All the sisters develop romantic interests in Dick Foran, Frank McHugh, Jeffrey Lynn, and John Garfield. Of course the mating process does get a bit complicated and one of the sisters suffers a tragedy, but it does promise to work out as the film ends.
Four Daughters is also known as the debut film of John Garfield. Other than a tiny bit part in Footlight Parade years earlier, Garfield had no other film roles. But he'd been acclaimed on the New York stage for his performance in Golden Boy and Warner Brothers signed him and found the perfect film debut role as the cynical musician who just can't quite get a decent break in life. It earned him a Best Supporting Actor nomination in 1938, but he lost to Walter Brennan for Kentucky.
This film was so popular that it practically spawned a small cottage industry for Jack Warner. Sequels with cast members like Daughters Courageous, Four Mothers, Four Wives all cleaned up at the box office before World War II. And Warner Brothers remade it with Frank Sinatra and Doris Day playing the parts that John Garfield and Priscilla Lane originated. Now those two made some beautiful music.
Still a timeless mold was created in Four Daughters and the film holds up 70 years after it was first seen.
One of Warner Brothers best and highest grossing films during the Thirties was this charming family drama about a widower who lives with his maiden sister raising Four Daughters. But not four every day type daughters. All of them have been trained by their musician father on instruments and one as a singer. They do make some beautiful music together even if it is for the long haired set.
You can watch the infinite variety of roles that Claude Rains played over the years and still marvel as he shows you yet another aspect of his creative personality. The opportunistic Vichy Captain in Casablanca is as different as the scientist gone mad in the Invisible Man, as the patient and wise Job in Mr. Skeffington. All the same man and all so incredibly different.
Here he raises the four girls with love seasoned with a little grouchiness at their willingness to accept modern music. The Lane Sisters and Gale Page may know Beethoven, but they're hep cats as well and can beat daddy eight to the bar every time. And if Rains gets a bit too testy than Aunt May Robson can put him in his place.
With Four Daughters unmarried at the time you know that's going to change. All the sisters develop romantic interests in Dick Foran, Frank McHugh, Jeffrey Lynn, and John Garfield. Of course the mating process does get a bit complicated and one of the sisters suffers a tragedy, but it does promise to work out as the film ends.
Four Daughters is also known as the debut film of John Garfield. Other than a tiny bit part in Footlight Parade years earlier, Garfield had no other film roles. But he'd been acclaimed on the New York stage for his performance in Golden Boy and Warner Brothers signed him and found the perfect film debut role as the cynical musician who just can't quite get a decent break in life. It earned him a Best Supporting Actor nomination in 1938, but he lost to Walter Brennan for Kentucky.
This film was so popular that it practically spawned a small cottage industry for Jack Warner. Sequels with cast members like Daughters Courageous, Four Mothers, Four Wives all cleaned up at the box office before World War II. And Warner Brothers remade it with Frank Sinatra and Doris Day playing the parts that John Garfield and Priscilla Lane originated. Now those two made some beautiful music.
Still a timeless mold was created in Four Daughters and the film holds up 70 years after it was first seen.