January 2022 Round-Up
TOTAL FILMS SEEN IN JANUARY: 40
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 40 (27 features & 13 shorts)
REWATCHES: 0
SEEN ON THE BIG SCREEN: 0
MOST WATCHED ACTOR: Buster Keaton (6 in total)
Morocco with Marlene Dietrich
I managed to watch 40 films this month, including a lot of shorts, so we're off to a great start. I aim to watch a good amount of classic movies this year, but as the month passed, I also realised I want to spend more time being creative and pick up where I left off with my calligraphy and maybe making notebooks again. I'm also interested in drawing with watercolour paint and gouache. Ánd ... I really need to improve my reading habits because the amount of books I've read last year has reached an all-time low and my TBR pile keeps growing.
Another change is coming too and it concerns our housing situation. Not only are we moving house this year, but we are going to relocate to another city! We're moving to Valencia! It means we are leaving our Barceloneta beach apartment before the start of the summer, thankfully escaping the noisy summer nights. Though I love Barcelona, Valencia has always been at the top of the list of places to live in Spain.
With other activities to do and concentrating on finding an apartment and moving, I might cut down on watching classic films and doing extra posts on this blog. But I will always do my regular monthly round-up posts. Despite being time-consuming, I love doing them.
The Real Glory with Gary Cooper
My Most Watched Actor is Buster Keaton with 6 films watched, all shorts (Grand Slam Opera, The Gold Ghost, Hayseed Romance, Allez Oop, One Run Elmer and The Chemist). Runner-up for most watched male actors is Gary Cooper with 5 films (The Texan, Morocco, Desire, The Real Glory and City Streets).
Sylvia Sidney is My Most Watched Actress with 4 films seen: The Trail of the Lonesome Pine, City Streets, The Miracle Man and Pick-Up.
There were several actors with more than 1 film watched. I saw 3 films with Randolph Scott (The Texans, The Nevadan, The Stranger Wore a Gun), Will Rogers (Doctor Bull, Life Begins at Forty, State Fair), Mary Pickford (The Country Doctor, Friends, What the Daisy Said), Beulah Bondi (The Southerner, The Shepherd of the Hills, The Trail of the Lonesome Pine), and Marlene Dietrich (Morocco, Desire, Shanghai Express). The following actors have 2 films watched to their names: Clive Brook (Shanghai Express, On Approval), Rochelle Hudson (Doctor Bull, Life Begins at Forty), Betty Field (The Southerner, The Shepherd of the Hills) and Blanche Sweet (The Captive, The Lonedale Operator).
The Southerner with Zachary Scott and Betty Field
I watched a total of 7 silents: 6 shorts (The Lonedale Operator, The Country Doctor, The Mothering Heart, Friends, A Corner in Wheat, What the Daisy Said) and 1 feature (The Captive).
I watched a total amount of 13 shorts. Normally they would all be silent films, but I also watched 7 short talkies this month (Grand Slam Opera, The Gold Ghost, Hayseed Romance, Allez Oop, One Run Elmer, The Chemist, Kid in Hollywood).
I did not make any trips to the Filmoteca in January and as a result didn't rewatch any movies.
My highest rated film of the month is The Southerner. There are also a lot of worthy mentions: The Trail of the Lonesome Pine, Grand Slam Opera, Morocco, Desire, City Streets, The Captive, Shanghai Express, The Country Doctor, Life Begins at Forty, The Mothering Heart, State Fair (1933), State Fair (1945) and A Corner in Wheat.
My lowest rated films of the month are The Stranger Wore a Gun, The Texan, Kid in Hollywood, Double Deal and The Golden Fleecing.
I enjoyed the following screen couples most: Zachary Scott and Betty Field in The Southerner, Marlene Dietrich and Gary Cooper in Desire, Marlene Dietrich and Clive Brook in Shanghai Express, and Charles Winninger and Fay Bainter in State Fair (1945).
Marlene Dietrich and Clive Brook in Shanghai Express
Breaking the 40 watched films down in decades:
1900s - 2
1910s - 5
1920s - 0
1930s - 22
1940s - 7
1950s - 3
1960s - 1
NOW LET'S MOVE ON TO THE FILMS!
(read notes with caution as they might contain spoilers; with ratings going from ½ to ★★★★★ and watched date)
In the enjoyable western THE TEXANS (Paramount, 1938), set right after the Civil War, Randolph Scott plays an ex-Confederate soldier wanting to make peace with the North, while rebel Robert Cummings still wants to fight for the Southern cause. Joan Bennett (pictured with Scott), in a feisty role, plays Cummings' girlfriend, fighting for the same cause until Scott makes her see things differently. The exciting cattle drive through Indian territory is the highlight of the film, it looks very realistic. Reliable support by May Robson and Walter Brennan, and direction by James P. Hogan. ★★★ / 01.01.2022
Zachary Scott and Betty Field make a wonderful and natural screen couple as husband and wife in Jean Renoir's THE SOUTHERNER (United Artists, 1945). It's a slow-paced yet lovely film about cotton picker Scott (pictured with Field, Jay Gilpin and Jean Vanderwilt), purchasing land in order to grow his own cotton crop, making a living for his family with two children and a grumpy granny, and meeting hardships on the way. Though there is enough drama in relation to the farm and crop, every time I was expecting the worst in other situations, it turned out alright (e.g. Scott didn't kill anyone, he wasn't tempted by other women, and he didn't drown). I'm a sucker for films dealing with land and earth and I love the pacing here, as if the story tells us to be patient with the earth. J. Carrol Naish plays the unfriendly and uncooperative neighbouring farmer, who meets Scott halfway thanks to a big catfish, and Beulah Bondi is the cantankerous grandma. The main performances are great (though Bondi is overdoing it a bit), I've never seen Scott in a more likeable role (looking really handsome), and this heartwarming film just makes you believe in the resilience of the human spirit. With a fine music score by Werner Janssen and atmospheric black-and-white photography by Lucien N. Andriot, I'd wished this film had lasted a bit longer. ★★★★ / 02.01.2022
In THE NEVADAN (Columbia, 1950) Randolph Scott plays a marshal in disguise, on the trail of outlaw Forrest Tucker. When Tucker escapes from custody, Scott befriends him while intent on arresting him as soon as Tucker has led him to the stolen loot. Dorothy Malone (pictured with Scott, screenshot by me) is the feisty daughter of crooked George Macready (who's also after the golden loot) and she looks lovely this young, especially in western wear. Nothing really special and completely predictable, but still good entertainment and nicely paced. DP Charles Lawton Jr. provides some nice outdoor photography. Also with Frank Faylen and Jock Mahoney as Macready's henchmen, and directed by Gordon Douglas. ★★★ / 03.01.2022
At first I didn't really like OH, JOHNNY, HOW YOU CAN LOVE! (Universal, 1940) because it started right away with some senseless bickering between the romantic leads Tom Brown and Peggy Moran (both pictured) and I thought it was all silly. Well, the silliness continued but as the film progressed I got more into it and found it even funny at times, so I bumped up my rating. A lot had to do with Allen Jenkins and Donald Meek, especially technogeek Meek (with hair!) and his tourist camp with automated cabins was hilarious. Little Juanita Quigley was also funny and cute. With some musical numbers (pretty sure both Brown and Moran's singing voices are dubbed) and a catchy title song that stays in your head long after the end credits have rolled, ultimately this turned out to be a fun watch, harmless and enjoyable. Directed by Charles Lamont. ★★★ / 04.01.2022
Watched Frank Capra's DIRIGIBLE (Columbia, 1931) for Fay Wray, but she's actually the worst part of this film. The story of two friends, one a Navy pilot (Ralph Graves), the other the commander of a US Navy dirigible (Jack Holt), both wanting to undertake the expedition to the South Pole, is a compelling one and made for some exciting action scenes. Wray plays Graves' whining wife, wanting him to quit his job because of its dangerous nature, and it's really not much of a role for her. She's also given little screen time, which in fact served this film better. Holt is in love with Wray himself but soon realises that he doesn't stand a chance. There's some great cinematography by Joseph Walker. The scene where Holt tells Graves he's taking him off the team is beautifully lit, and the subsequent crane shot following Graves from above while walking away, only his white clothes visible in the dark, looks great as well. Stand-out moments: the crash of the dirigible and the entire sequence on the South Pole in the cold. Holt and Wray (both pictured) made a couple of films together, and though I've grown to like Wray, the appeal of Holt eludes me. By the way, Clarence Muse looks great wearing sunglasses and Roscoe Karns can be seen in an unusual dramatic role. ★★★ / 06.01.2022
THE TRAIL OF THE LONESOME PINE (Paramount, 1936) benefits from being the first feature film to be shot in Three-Strip Technicolor on location, outside of a studio environment. It is gorgeous to look at with lots of brown hues and breathtaking scenery. Sylvia Sidney, Fred MacMurray and Henry Fonda (all three pictured, screenshot by me) are involved in a long-running feud between two mountain clans and deliver good performances. The story is compelling and the drama heightens when something tragic happens to the little kid. It's probably nothing we haven't seen before and you can predict how it ends, but I loved the atmosphere and the cast. Good support by Beulah Bondi, Fred Stone, Nigel Bruce, Robert Barrat and Fuzzy Knight. Directed by Henry Hathaway. ★★★½ / 06.01.2022
In THE STRANGER WORE A GUN (Columbia, 1953), directed by André De Toth, Randolph Scott plays a morally ambigious character who used to be a spy for Quantrill’s Raiders during the American Civil War. I looked up William Quantrill online and he was indeed a Confederate guerrilla leader during the Civil War and his group of bandits was called Quantrill's Raiders, like in the film. Notable is that young Jesse James and his older brother Frank James were part of the group. The Lawrence attack, depicted in the film, is also a historical fact. So this could have been a great starting point for an exciting western but we're left with a rather tepid film. Claire Trevor (photographed with Scott) is the best thing here, but even her presence and role/performance couldn't lift this to a higher level. The most remarkable thing is that this film was made for 3-D, and seeing it in the flat version meant weird shots with people throwing objects at the camera (like torches or aiming a gun). I wonder whether seeing this in 3-D would have made the viewing experience better. ★★ / 06.01.2022
Lots of reviewers consider LILIES OF THE FIELD (Rainbow Productions, 1963) to be racist because a white nun treats a black man as a slave and lets him work as a handyman without paying him. I didn't really see it that way, because Sidney Poitier is a free black man with a free will and he stayed out of his own accord and the nuns thought he was sent by God, so no need to pay him then. What bothered me more was the fact that I didn't like the nuns, and especially Lilia Skala as Mother Maria was unlikeable and didn't win me over in the end. I watched this for Poitier (pictured with Skala), who just passed away on the 7th of January, and he gives an energetic performance. I chose this film because it's the one where he got the Oscar for (being the first black man ever to win the coveted award) but I think it's debatable whether this was really Oscar-worthy. Overall this was pretty enjoyable and I got through it alright (fortunately it was only 94 minutes long) but I don't really get all the praise for this film and there were definitely things I didn't like (e.g. the nuns and the English classes). Even the cinematography by the great Ernest Haller didn't impress me much. Might check out another Poitier film this month. Directed by Ralph Nelson. ★★½ / 07.01.2022
Watched THE UNFINISHED DANCE (MGM, 1947) for both Margaret O'Brien and Cyd Charisse, and I expected some wonderful dance scenes. Indeed, the ballet segments are beautiful, and everything looks especially great in that lush Technicolor. The story about child ballerina-in-training O'Brien, idolising prima ballerina Charisse and wanting to prevent visiting ballerina Karin Booth from dancing, is entertaining enough. O'Brien (pictured, in the middle) spends most of the film ridden by guilt for having injured Booth by accident and she pulls this off splendidly. I liked Charisse for her dancing but her character wasn't very likeable, unlike Booth's character. I can remember having seen Booth in a western with Sterling Hayden (Top Gun) and she didn't make much of an impression then, but now I took notice of her. It might be a bit far-fetched that she doesn't hold a grudge at all against O'Brien for injuring her. Noteworthy is that O'Brien trained for 6 months with Russian ballet teachers in order to do the dancing scenes herself. Also, I recognised Marie Windsor in an uncredited part as a saleslady. Directed by Henry Koster. ★★★ / 08.01.2022
John Cromwell's THE TEXAN (Paramount, 1930), which I watched for both Fay Wray and Gary Cooper (both portrayed), is not very good. Being an early talkie, the dialogue is — not so surprisingly — very stilted. The performances are wooden and probably the most unnatural ones I've seen in quite some time. Wray's Spanish accent is appalling, but it was fun to hear Cooper say a couple of lines in understandable Spanish. With little excitement, this film moved at a snail's pace and the runtime of 79 minutes felt much longer. I prefer Cooper in his later roles, but the silly cowboy outfit he's wearing here brought a smile to my face. ★★ / 08.01.2022
Before I came across this Buster Keaton short GRAND SLAM OPERA (Educational Pictures, 1936), I had never even heard of Educational Pictures. After having been fired from MGM in 1933, Keaton made a string of two-reel comedies for Educational, all talkies, between 1934 – 1937. Made after his successful feature-film career, these shorts can't compare to his earlier work but are still enjoyable and show moments of the classic Keaton and his greatness and inventiveness. Grand Slam Opera is considered to be the best of the 16 shorts Buster made with Educational, reportedly his own favourite, together with One Run Elmer. Directed by Buster and Charles Lamont, Keaton also shared writing credits with Lamont for Grand Slam Opera. It's a bit strange to hear Buster talk (he doesn't deliver his lines very well), even though the dialogue is limited — he repeatedly asks the girl he likes "How about dinner and a show?" — but the emphasis is on the great visual comedy and in that respect it has the feel of his older work with his typical trademarks on full display. Highlights are: the pancake window scene (Buster pictured, screenshot by me); Buster doing an impression of the Top Hat scene where Fred Astaire is dancing in the room a floor above Ginger's room, the noise keeping her awake (I adore that scene in Top Hat and Buster's take here is very funny); Buster rehearsing juggling and tricks in his room; Buster doing a solo dance in different styles of traditional folk, while in the waiting room of the radio show; and Buster doing visual tricks on the RADIO show and clashing with the conductor. ★★★½ / 08.01.2022
Had an appetite for more Buster shorts from his Educational years and thought I'd give THE GOLD GHOST (Educational Pictures, 1934) a try since it's also one of the better Educational ones (directed by Buster Keaton and Charles Lamont). After being dumped by his girlfriend, Buster drives off in his car and winds up in a ghost town where he appoints himself sheriff. There's some great visual comedy and the sets with the dust and cobwebs look great. Small role for Warren Hymer (pictured with Buster) whom I recognise from supporting parts in numerous films. No big shakes, but still entertaining. ★★★ / 09.01.2022
HAYSEED ROMANCE (Educational Pictures, 1935) has Buster Keaton finding a job as a handyman with an older woman and her niece. There are some really funny scenes, especially during the rainstorm when Buster (pictured with Dorothea Kent, screenshot by me) is trying to mend a leaky roof but instead pretty much destroys the place, and I was laughing out loud. It's silly slapstick but I enjoyed it a lot. Also with a fun double-exposure trick where Buster talks to his alter ego. Directed by Charles Lamont. ★★★ / 09.01.2022
I watched yet another Educational short, ALLEZ OOP (Educational Pictures, 1934), directed by Buster Keaton and Charles Lamont. Buster works as a watch repairman and falls for Dorothy Sebastian (pictured with Buster) who visits his shop. But when they go out on a date to visit the circus, she falls for the trapeze artist. To impress her, Buster tries to master the acrobatic skills himself and practices in his backyard, resulting in some funny scenes. In the end he comes away as the hero as he rescues his girl from a burning apartment. This is a fun short, which — as the other Educational shorts — is at its best without any dialogue, fully exhibiting Keaton's physical comedy. ★★★ / 09.01.2022
Lacking in plot but abundant in visual poetry, Josef von Sternberg's MOROCCO (Paramount, 1930) is a feast for the eyes, beautifully shot by Lee Garmes and uncredited Lucien Ballard. Being a film from 1930, it might not come as a surprise that the dialogue is stilted (fortunately there's not so much of it), but Gary Cooper is not as wooden as he is in The Texan. Marlene Dietrich (pictured) looks very beautiful and is most memorable in the great cabaret act, wearing a tuxedo and kissing a woman on the lips as part of the act. Adolphe Menjou gives good support as the rich man in love with Dietrich. The absolute highlight of the film is the stunning ending. Gorgeous image of the archway framing the desert, the women and Dietrich struggling against the wind and plowing through the sand, accompanied by the sound of drums and the howling wind. Simply magical! Also, loved to see Cooper eating an apple. ★★★½ / 10.01.2022
Frank Borzage's DESIRE (Paramount, 1936), produced by Borzage and Ernst Lubitsch, starts strong as a delightful screwball comedy with a witty script and a great meet-cute between Marlene Dietrich and Gary Cooper who have wonderful chemistry (both pictured). Dietrich plays a jewel thief, slipping a string of pearls in the pocket of naive Cooper (enjoying a much needed vacation) at customs, in order to get the pearls out of France. In Spain, Dietrich needs to get the pearls back and falls in love along the way. I absolutely loved the first part of the film. The sequence where Dietrich cons jeweler Ernest Cossart and psychiatrist Alan Mowbray is comedy gold, and Lubitsch had likely something to do with it (he directed some scenes while Borzage fulfilled a prior commitment at Warner Bros). Unfortunately, Desire loses steam in the second part — I just liked it less when the leads had fallen in love with each other. I prefer the lighthearted and comedic tone and the playfulness of the first half. Further credits: good support by John Halliday (a last-minute replacement for John Gilbert, who was initially cast but died of alcohol-induced heart failure); cinematography by Charles Lang and Victor Milner; Dietrich's wardrobe designed by Travis Banton. One more thing: Dietrich's thin and highly shaped eyebrows were distracting. Cooper was also distracting but it was only because he was so freaking handsome and cute. ★★★½ / 11.01.2022
In THE REAL GLORY (Samuel Goldwyn Productions, 1939), Gary Cooper plays a military doctor stationed at a US outpost in the Philippines, dealing with Philippine troops who are terrified to fight the local Moro muslims. I liked Cooper's strong character, being caring and sensible and saying frank things. Andrea Leeds in the romantic lead has an okay role, and I liked how the relationship between her and Cooper was handled, without emphasising the romance too much. A decent war film with a supporting cast by David Niven (illustrated with Leeds and Cooper), Reginald Owen, Broderick Crawford, Kay Johnson and Russell Hicks, and direction by Henry Hathaway. ★★★ / 11.01.2022
The pre-code gangster film CITY STREETS (Paramount, 1931) has a great style and outstanding black-and-white photography, courtesy of Lee Garmes. I was so pleased to see his name in the opening credits, and the stunning opening sequence with its great editing promised more visual goodness to come (low and high angles and great lighting). The story itself is also compelling. Sylvia Sidney takes the rap for a murder committed by her father, mobster Guy Kibbee (playing against type), and is sent to prison. Her boyfriend, innocent Gary Cooper (pictured with Sidney), working at the carnival and handy with a gun, is recruited by Kibbee and turns gangster himself. It isn't as gritty as Warner Bros gangster films, this being from Paramount, but it's still chilling, and the car ride in the finale is exhilarating. Also with Paul Lukas and Wynne Gibson and directed by Rouben Mamoulian. ★★★½ / 13.01.2022
I didn't find ONE RUN ELMER (Educational Pictures, 1935) as funny as the other Buster Keaton Educational shorts I've seen so far this month. Here Buster (illustrated) is working at a gas station in the desert, and when Harold Goodwin opens another gas station across the street from Buster's, he becomes Buster's rival in business, love and baseball. I found the leading lady Lona Andre unappealing, and the baseball scenes went on for too long. But the Buster antics are in place and there are still things to enjoy here (especially the wobbling desert shack). Charles Lamont directed. ★★½ / 13.01.2022
Was very sleepy while watching THE MIRACLE MAN (Paramount, 1932) and missed parts which I watched again later, enjoying this much more in my conscious state. Sylvia Sidney and Chester Morris (both pictured with Ned Sparks) play con artists, setting up shop in a small town and trying to capitalise on the healing powers of the Patriarch (Hobart Bosworth). They start scamming the public of fonds for a chapel. While Sidney (who poses as the Patriarch's grand-niece) grows a conscience, as well as partners in crime John Wray (as The Frog character) and Ned Sparks, Morris is determined to go ahead with the scam. I thought the best parts of the film were the con parts, but the scenes with Hobart Bosworth doing his holy thing (with heavy-handed music playing) were a bit hard to take. Morris' redemption at the end comes too abruptly and was very predictable. Sidney looks really lovely, once she arrives in the small town, and she makes a likely couple with Morris. Further support by Boris Karloff (as a peeping Tom), Virginia Bruce (as the woman in the wheelchair), and Robert Coogan (brother of Jackie Coogan). Norman Z. McLeod directed and David Abel photographed. ★★★ / 14.01.2022
These Educational shorts are a lot more enjoyable than I thought they would be, but the truth is I'm watching the highest rated and most recommended ones first, so if I get around to watch the lesser ones I will likely get disappointed. The worst part of these shorts are the talking sections of Buster Keaton (illustrated). He's really bad at delivering his lines. When it's silent, it mostly works. The story of THE CHEMIST (Educational Pictures, 1936) — still one of the better Educational shorts — is compelling (Buster as a scientist developing powders with potent qualities) and there's enough visual comedy to make this an engaging watch. I liked the scene where the lady pulls Buster in the car after having eaten the aphrodisiac candy and her husband walks in on them. Directed by Al Christie. ★★★ / 15.01.2022
KID IN HOLLYWOOD (Educational Pictures, 1933) — directed by Charles Lamont — is a short from the Baby Burlesks series (there were eight films in total). The Baby Burlesks series are well-known for featuring three-year-old Shirley Temple in her first screen appearance. Shirley (pictured) gets rejected here by the casting booth, and working a cleaning job at the theater, she gets the chance to play the lead role when the leading lady fails to appear on set. Shirley also gets to sing a song and shows promise. The kids are cute but seeing them play adult parts felt a bit weird and even a bit uncomfortable. Might watch more of these Temple shorts, just for its runtime and they're easy to digest, but it's nothing compared to Shirley's features. ★★ / 16.01.2022
Cecil B. DeMille's silent film THE CAPTIVE (Jesse L. Lasky Feature Play Company, 1915) was thought to be lost but then was rediscovered in 1970 in the Paramount Pictures Vault and later donated to the Library of Congress. I was drawn to this silent because of its engaging story of a peasant woman, a widow, living with her younger brother on the farm, while her elder brother loses his life in the battle of the Balkan Wars. In order to handle the many tasks on the farm, the women left behind are assigned a Turkish POW. Blanche Sweet (only seen her in the short The Making of a Man and didn't find her that appealing then) plays the Montenegrin peasant woman and House Peters is the Turkish nobleman, now a POW (both portrayed). It's not so difficult to guess a romantic relationship will develop between the two, and their growing attraction is subtle and not overplayed. The film's pace is a bit slow and there's not much drama, as the story spends a lot of time dealing with Peters learning to do things around the house. When the farm is overtaken by the Turkish army and Peters opposes his superior who is trying to assault Sweet, the drama heightens. The Montenegrin army comes to the rescue but little time and budget is spent on excessive battle scenes. I liked Sweet here, she looked nice in her peasant costume (reportedly she bought it from a Montenegrin peasant woman), and she fitted her role well. The lead performances were pretty natural, and this was overall a very entertaining watch. But how coincidental was the final encounter on that deserted country road! ★★★½ / 16.01.2022
Watched D.W. Griffith's silent short THE LONEDALE OPERATOR (American Mutoscope and Biograph Company, 1911) for Blanche Sweet (portrayed). She plays the daughter of the telegraph operator at a railway station, filling in for her sick father, and her role is likeable. When two thugs intend to steal the mine's payroll, dropped off at the station and entrusted in Sweet's care, we root for our heroine and admire her for outsmarting the not so bright thieves when holding the men at gunpoint using a fake gun, i.e. a wrench. Her boyfriend, a train engineer, played by some unappealing actor, comes to the rescue when she has the situation perfectly under control. Short and enjoyable. ★★★ / 16.01.2022
First of all and maybe most importantly, Marlene Dietrich (portrayed) looks exquisite in SHANGHAI EXPRESS (Paramount, 1932). Her beauty is really spellbinding, enhanced by Travis Banton's wonderful costumes and Lee Garmes' outstanding black-and-white photography. Director Josef von Sternberg had such a keen eye for detail, treating the visual aspect of his films as something of utmost importance. So many gorgeous shots, especially Dietrich's famous close-up, and I also loved the shots with the train approaching. I generally like stories set on trains and this one is no different. There are quirky characters here, with some passengers providing comic relief (Eugene Pallette and Louise Closser Hale), and the main Asian characters being portrayed by the Asian Anna May Wong and the not-so-Asian Warner Oland. The romantic leads Dietrich and Clive Brook play well off each other, and Dietrich's playfulness matches nicely with Brook's serious demeanour. Despite the drama, the overall tone is light, especially the ending is more suited to a romantic comedy. ★★★½ / 16.01.2022
Had wanted to like ON APPROVAL (Independent Producers, 1944) more than I did, and I actually had also expected more from it. Watched this for Clive Brook, who apart from playing one of the leading men also directed and produced. This film was his only attempt in the director's chair, so I guess he must have felt very passionate about the project. It is a lovely project, a comedy of manners in Oscar Wilde style, but not quite getting there. That's actually the problem with this film. Though it definitely has its charm — it's even delightful at times — it's not witty enough and the characters lack some likeability. I also got off on the wrong foot with this film as I didn't like the introduction with the voice-over, and also the silly dreams near the end couldn't charm me much. But I was mostly disappointed with the fact that Clive Brook ended up with Beatrice Lillie and not with Googie Withers (pictured with Brook), which didn't make any sense. Also with Roland Culver, playing the other impoverished British aristocrat. ★★★ / 16.01.2022
The story of a horse trainer, wishing to participate in a big race, has been done before and better in Frank Capra's Broadway Bill (1934) and later on in Capra's own remake Riding High (1950), but there's still enough to like in BREEZING HOME (Universal, 1937). I like William Gargan as the trainer and horse lover and he looks good. I also like Wendy Barrie most of the time, and I did here, and though the leads might not have the best of chemistry, I enjoyed their romance. The film lacks a bit of the spirit and heart both of Capra's films have but it moves at a nice pace, and with only 64 minutes of runtime doesn't overstay its welcome. Binnie Barnes, Raymond Walburn, Alma Kruger, Alan Baxter and Willie Best are also playing — Walburn (pictured in the middle, with on his left Barnes and Gargan, and right Barrie and Baxter) is also part of the supporting cast in mentioned Capra films. Directed by Milton Carruth. ★★½ / 17.01.2022
I love those early pieces of filmmaking and how a story can be told effectively in such a short runtime and without dialogue. D.W. Griffith's THE COUNTRY DOCTOR (American Mutoscope and Biograph Company, 1909) is a compelling drama expressed in a vivid manner — though a bit overacted on account of it being a silent — but it manages to bring across the emotions well. A country doctor is being called away to attend to a sick neighbour, while his own sick daughter's condition is turning for the worse. It's not so difficult to guess that the doctor's return at his daughter's bedside comes too late, but there's a nice sense of suspense and foreboding of tragedy. The casts consists of names unknown to me (Kate Bruce, Adele DeGarde, Gladys Egan, Rose King, Florence Lawrence, Frank Powell — pictured are Lawrence, Egan and Powell), except for Mary Pickford who has a bit part as the elder daughter of the poor neighbour family. Cinematography by Billy Bitzer with some nice pan shots. ★★★½ / 18.01.2022
DOCTOR BULL (Fox Film Corporation, 1933) is a fine small-town drama directed by John Ford, enjoyable yet a bit slow-moving. It's enhanced by the very natural performance by Will Rogers who's credible playing a doctor. It was nice to see Rogers having a love interest (Vera Allen), their time spent together being the subject of the town's gossip (both portrayed). Allen reminded me a bit of Mary Astor. Rounding out the cast are Ralph Morgan, Rochelle Hudson, Marian Nixon, Berton Churchill, Elizabeth Patterson and Andy Devine (annoying as always). ★★★ / 19.01.2022
LIFE BEGINS AT 40 (Fox Film Corporation, 1935) is another Will Rogers film set in a small town with Rogers playing a loveable folksy character, this time a newspaper publisher helping out a young man released from jail and wrongly accused of theft from the bank. Rogers' style is so natural and his mumbling so endearing that he feels like an old friend, playing the same kind of character over and over again, probably close to his own persona. His style is laid-back and what you see is what you get. This film is slow but I enjoyed it a lot. At times it was very funny, e.g. the hog calling, Rogers painting Slim Summerville's glasses black, but the funniest scene was the one with the pistol duel between Rogers and George Barbier, and then Summerville falling out of the tree. I liked the romance between Richard Cromwell and Rochelle Hudson (both pictured with Rogers), and I also enjoyed the rest of the supporting cast (Sterling Holloway and Jane Darwell). George Marshall directed. ★★★½ / 20.01.2022
Lillian Gish (pictured) is the best thing of D.W. Griffith's short silent THE MOTHERING HEART (American Mutoscope and Biograph Company, 1913) — but when is she nót the best thing? The story is simple: Gish's husband is getting ahead in his career and starts an extramarital affair. Gish leaves him and bears him a child, unbeknown to him. When his mistress is making eyes at another man, Gish's husband feels remorse for his infidelity and seeks contact again with his wife. All stars of the film's rating go to Gish, who shows her enormous talent. She is such a captivating screen presence and bewilders the audience with her gestures and looks. The way she holds a kitchen towel and then imagines it to be a baby, cradling the cloth gently in her arms ... just wonderful. The drama heightens at the ending when the sick baby dies and the husband and wife turn to each other in their moment of grief. Whether Gish really takes her husband back, is not clear. I hope not. ★★★½ / 22.01.2022
FRIENDS (American Mutoscope and Biograph Company, 1912) is another short silent directed by D.W. Griffith, starring Mary Pickford, Henry B. Walthall and Lionel Barrymore. Pickford's character is courted by two gold miners, Walthall and Barrymore, and it was nice to see Barrymore so young and in a romantic role. But Pickford (pictured with Barrymore, screenshot by me) didn't impress me much. Fortunately I watched the restored print. Also with a young Harry Carey in a small part as the prospector. ★★½ / 23.01.2022
Wanted to see another film with Will Rogers and chose STATE FAIR (Fox Film Corporation, 1933), because I finally found a clear print online (had been meaning to see this for some time). This was a nice and wholesome slice of Americana, slow-paced and with plenty of folksy charm and sweetness, but unfortunately not enough screen time for Rogers. He is well cast as farmer Pa Frake determined to win a prize at the annual fair, and the hog story is a funny one. Louise Dresser as Ma Frake is set out to win first prize in the mincemeat and pickle competition. The romance between Janet Gaynor and Lew Ayres comes too quickly and Ayres is a bit smooth, but they have good chemistry and make their romance work. This is a pre-code film with a suggestive seduction scene where Sally Eilers' robe is blocking the screen. Eilers is great, by the way. The cinematography by Hal Mohr and Joseph A. Valentine is often beautiful, with great tracking shots, and I especially loved the scene where the family is making the journey to the fair by car, with Gaynor in pensive thoughts and beautifully shot. I also loved the happy ending in the rain accompanied by a lovely music score. Further support by Norman Foster (pictured with Gaynor, Dresser and Rogers) and Victor Jory, and Henry King directed. ★★★½ / 23.01.2022
Although everything looks beautiful in lush Technicolor, the cinematography by Leon Shamroy in STATE FAIR (20th Century-Fox, 1945) is less striking than the photography in the previously watched black-and-white version. The musical numbers are okay but not really memorable, except for the gorgeous and famous It Might As Well Be Spring, written by Rodgers and Hammerstein, and winner of the Academy Award for Best Original Song. Yet the music still brought me joy — it always makes me feel a bit nostalgic when I'm watching musicals, my favourite genre while growing up. This film is almost a scene-by-scene remake, but because of the colours and the songs has a different vibe. I love Charles Winninger and Fay Bainter as a couple, they have a very natural chemistry. I think Dana Andrews — as much as I love him — is out of place here, but I like pretty Jeanne Crain (portrayed with Andrews). Good supporting cast of Dick Haymes, Vivian Blaine, Donald Meek, Frank McHugh and Harry Morgan, especially pickle-and-mincemeat-testing Meek was fun. Direction by Walter Lang. ★★★½ / 24.01.2022
I chose DOUBLE DEAL (Bel-Air Productions, 1950) because I saw a photo of Marie Windsor and Richard Denning looking good together, and I wouldn't mind seeing Windsor as a good girl and a romantic lead. I was sleepy watching this but I don't think I missed much when I wasn't paying attention. The story concerns an oil well and a brother/sister feud, and it's just not very exciting. It definitely benefits from Denning looking really good and I also liked seeing Windsor in casual clothes (both pictured). Abby Berlin directed. ★★ / 24.01.2022
D.W. Griffith's A CORNER IN WHEAT (American Mutoscope and Biograph Company, 1909) is a good silent short with beautiful and memorable images of farmers scattering seed over the land. When an unscrupulous financier corners the wheat market, the prices go up and a loaf of bread becomes unaffordable for the poor. The editing is good, intercutting between the images of the hungry poor and the parties of the wealthy speculator. The tragic ending of the tycoon, buried under an avalanche of grain, was unexpected and pretty shocking. Good photography by Billy Bitzer. ★★★½ / 25.01.2022
In WHAT THE DAISY SAID (American Mutoscope and Biograph Company, 1910) two sisters (Mary Pickford and Gertrude Robinson) have their fortune told by a gypsy scoundrel who foresees their romantic future to his own liking. After Pickford sees him with her sister and he attacks their father, the gypsy's driven out of town. It's all a bit silly but I liked Pickford (pictured) here and I loved the sisters together, in their beautiful dresses, carefree, playing the daisy game. D.W. Griffith directed. ★★★ / 27.01.2022
Lew Ayres is not cut out to play the role of such a dopey character like the one he portrays in THE GOLDEN FLEECING (MGM, 1940), directed by Leslie Fenton, and it's weird to see him this silly. Normally he played serious roles of e.g. doctors or lawyers. The plot is very foolish and it was at times hard to get through, but the actors didn't seem to take it too seriously. I like the well-known supporting cast (Lloyd Nolan, Virginia Grey, Nat Pendleton and Marc Lawrence) and they all made it a bit more interesting. I also really like Rita Johnson (who at times looked a lot like Virginia Grey, so that was confusing), but not so much her character. Actually, the only memorable thing here about Ayres (pictured with Johnson and Grey) is how good his messy hair looked. ★★ / 29.01.2022
Sylvia Sidney and George Raft (both pictured) make a believable couple and have good chemistry in PICK-UP (Paramount, 1933), directed by Marion Gering. They made 3 films in total together and I have enjoyed them in You and Me (1938) and Mr. Ace (1946), especially in You and Me. Here Sidney plays a con artist, just released from jail, while her husband (William Harrigan) has to serve more time. George Raft is the likeable taxi driver who shelters Sidney from the rain, and I liked the scenes in his apartment where he puts her up for the night. But when he gets the hots for rich socialite Lilian Bond, he turns less likeable. Raft's performance is pretty wooden here, whereas Sidney is good as usual. Despite its flaws, I enjoyed this. ★★★ / 31.01.2022
So that's another round-up, first one of the year. See you soon for the month of Valentine's Day, where I will be doing a little project. Stay tuned!
