JANUARY 2023 ROUND-UP
TOTAL FILMS SEEN IN JANUARY: 20
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 20 (18 features & 2 shorts)
REWATCHES: 0
SEEN ON THE BIG SCREEN: 0
William Powell and Asta in Shadow of the Thin Man
January went by and halfway through I hadn't watched any classic films yet. But ... I caught up during the second half of the month and managed to see 20 classic films in total. Yay! This was achieved by steering away from K-drama series (the only K-drama I watched was at the beginning of January, Chicago Typewriter). Even though I would love to see more K-dramas (and I do intend to tick some off my watchlist soon), I really loved to spend time with the classics again and hope to see a lot more classic films this year than I did last year.
In January I watched predominantly films from the 1930s, my fave decade for classic films. I started the month with a William Powell film The Road to Singapore (1931) and decided to watch more Powell films and also to finish The Thin Man series (three more instalments to see).
So William Powell became My Most Watched Actor of the Month, with 6 films watched (The Road to Singapore, Shadow of the Thin Man, The Thin Man Goes Home, Song of the Thin Man, Manhattan Melodrama, High Pressure). Myrna Loy is My Most Watched Actress with 5 films watched (Shadow of the Thin Man, The Thin Man Goes Home, Song of the Thin Man, Manhattan Melodrama, Emma). I watched them together in the remaining Thin Man films.
There are two actors with 3 films seen: Jean Muir (Draegerman Courage, Once a Doctor, A Modern Hero) and Richard Dix (Special Investigator, The Thirteenth Hour, Twelve Crowded Hours).
I watched 2 films with Joan Bennett (Wedding Present, Wild Girl), Lucile Watson (The Bishop Misbehaves, The Thin Man Goes Home) and Frank McHugh (The Widow from Chicago, High Pressure).
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Song of the Thin Man with Myrna Loy, William Powell and Asta
I watched 2 shorts, The Flirt and Love Nest on Wheels. The Flirt is a Harold Lloyd silent short and Love Nest on Wheels is a talkie with Buster Keaton. I didn't see any silent feature films which means I have watched only 1 silent film.
Again there were no trips to the Filmoteca and I didn't rewatch any films at home.
My highest rated films of the month are the 3 instalments from The Thin Man series (Shadow of the Thin Man, The Thin Man Goes Home, Song of the Thin Man), Manhattan Melodrama and The Bishop Misbehaves.
My lowest rated films are The Flirt and The Murder of Dr. Harrigan.
My absolute favourite screen couple of the month is William Powell and Myrna Loy (not so surprisingly!). I love them in The Thin Man series and also in Manhattan Melodrama.
Breaking the 20 watched films down in decades:
1900s - 0
1910s - 1
1920s - 0
1930s - 15
1940s - 4
1950s - 0
1960s - 0
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)
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Starting off the new year with a pre-code film which I chose for its short runtime of only 68 minutes and because I want to watch more films from my fave classic decade. Yet THE ROAD TO SINGAPORE (Warner Bros, 1931) is a rather tepid film with adultery as its theme and it really could have used more spice. William Powell fits his role well as the man who has a reputation for seducing married women. Doris Kenyon (pictured with Powell, top photo) and Marian Marsh (pictured with Powell, bottom photo) look good in 1930s fashion (unfortunately there's not enough of lovely Marsh) but Louis Calhern is as boring as the character he's playing. There's a cute scene with Powell nursing a spotted piglet and the black-and-white photography by Robert Kurrle is noteworthy. Highlight is a very nice tracking shot that travels through the jungle from Kenyon's window to Powell's porch, then showing their faces in close-up, radiating desire. The script also serves up some witty lines which mostly work because of Powell's dry delivery: "Do you always ride alone?" (Marsh) "Sometimes the horse goes with me." (Powell) Alfred E. Green directed. ★★½ / 15.01.2023
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I watched Big Brown Eyes, starring Cary Grant and Joan Bennett, a couple of years ago and thought they had great chemistry. The screwball comedy WEDDING PRESENT (Paramount, 1936) is their other collaboration, and though not as good as Big Brown Eyes and a bit uneven, there's still enough to enjoy here. I like the newspaper setting and I love Bennett (pictured with Grant) in particular with her deadpan remarks. This comedy gets pretty madcap near the end and of course has a happy ending. Solid support by George Bancroft, Conrad Nagel, Gene Lockhart, William Demarest and Edward Brophy. Richard Wallace directed. ★★★ / 17.01.2023
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Was hoping for a fun watch and it was! THE BISHOP MISBEHAVES (MGM, 1935) is delightful, with a great cast and well-paced storyline. There was never a dull moment, perhaps even too much going on at some point. I loved the women here. Maureen O'Sullivan's character is feisty and determined, Lucile Watson is lovely as the bishop's sister, and I liked how Lilian Bond as Reginald Owen's wife came around in the end. Edmund Gwenn as the bishop is good (character-wise and performance-wise he's exactly what you'd expect him to be), Norman Foster as O'Sullivan's love interest is a bit bland (that romance was certainly rushed!), but the British actors playing the thugs are wonderful. My fave part was actually the beginning, with O'Sullivan meeting Foster (both pictured with Watson and Gwenn, screenshot by me), recruiting the gang and setting up the robbery. I also loved the opening credits and there's some nice black-and-white photography by James Van Trees. E.A. Dupont directed. ★★★½ / 17.01.2023
I watched DRAEGERMAN COURAGE (Warner Bros, 1937) for its short runtime of 58 minutes and because I like both of the leads, Jean Muir and Barton MacLane (both pictured). I enjoyed this story of a mine collapse and the rescue work and search for two trapped miners (Henry O'Neill and Robert Barrat). I thought it all looked pretty realistic and the performances are solid. MacLane with his rugged looks is well cast as one of the miners. Muir as his love interest and daughter of O'Neill has a disappointing role with not enough screen time and a character that hasn't anything to do. Small part for Addison Richards (my most watched actor of 2021). Directed by Louis King. ★★★ / 18.01.2023
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I've really started to like Richard Dix, the more I see of his films, and SPECIAL INVESTIGATOR (RKO, 1936) — directed by Louis King (coincidentally the same director as from the previously watched Draegerman Courage) — is a short and entertaining watch. Dix plays a lawyer who no longer wants to defend public enemies after his brother is killed, and he gives a good performance. I like Dix's calm demeanour, his quiet gaze, and I can see why he was a big star in his days, though now largely forgotten, unfortunately. I'd never heard of Margaret Callahan before (reminding me a bit of Margaret Lindsay), and she makes an okay couple with Dix (both portrayed), but love comes way too quickly — as can be expected. With support by Erik Rhodes, Joe Sawyer and J. Carrol Naish, this B-programmer isn't essential viewing but it's a good way to spend 61 minutes. ★★★ / 19.01.2023
Wanted to watch another Richard Dix film and chose William Clemens' THE THIRTEENTH HOUR (Columbia/Larry Darmour Productions, 1947) because it also stars Karen Morley (pictured with Dix, screenshot by me). I like her and saw her together with Dix in their other collaboration, Devil's Squadron from 1936. They have nice chemistry. This crime film is part of The Whistler series, based on the radio show of the same name. Dix played in 7 of the 8 films in the series (the last films of his career), each film with a different lead character living on the edge of society. The Whistler narrator is the only constant factor. In this enjoyable episode Dix nearly loses his trucking business, as he's wrongfully accused of killing a cop. Set out to prove his innocence, he's forced to live in the shadows. Unfortunately Morley's role is quite small, but I really like the young actor (Mark Dennis) playing her son, his character is pretty smart and plays a pivotal part in the film's denouement. This was Dix's final film. He suffered a heart attack during filming and died in 1949. ★★★ / 20.01.2023
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Decided to watch the rest of The Thin Man films I haven't seen yet, knowing I will have a good time with them. W.S. Van Dyke's SHADOW OF THE THIN MAN (MGM, 1941) is the fourth instalment in the series, with Nick and Nora Charles doing some sleuthing in a mystery case — a race-track murder — but the case is of course not really the focal point of the film. It's William Powell and Myrna Loy (both pictured, top photo) with their witty banter and amazing chemistry. I honestly love Loy so much! Add Asta (so adorable) and little Nicky to the mix and you have a great recipe for a delicious cocktail! Supporting roles by Henry O'Neill, Barry Nelson (pictured with O'Neill, Powell and Loy, middle photo), Donna Reed (pictured with Nelson and Loy, bottom photo), Sam Levene, Alan Baxter and Louise Beavers. Cheers! ★★★½ / 20.01.2023
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Fifth instalment in The Thin Man series is THE THIN MAN GOES HOME (MGM, 1944), where the Charles couple (William Powell and Myrna Loy) together with cute dog Asta takes a trip to Nick's hometown to visit his parents, none other than the delightful Lucile Watson (pictured with Loy and Powell, top photo) and Harry Davenport. Powell and Loy (both pictured with Asta, bottom photo) haven't lost their wit and charm as the series almost comes to an end (one more episode to go), and of course their holiday is interrupted by a murder, committed on the doorstep of Nick's parents' house. The mystery is easier to follow than in the previous films, while Nick is completely sober, only drinking apple cider. With a solid supporting cast (Gloria DeHaven, Anne Revere, Helen Vinson, Leon Ames, Donald Meek and Edward Brophy), this was another fun watch. It was the first entry in the series not directed by W.S. Van Dyke, who'd died in 1943. Richard Thorpe directed. ★★★½ / 21.01.2023
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I also really liked the sixth film in The Thin Man series, SONG OF THE THIN MAN (MGM, 1947), directed by Edward Buzzell. This last episode has our favourite sleuths Nick and Nora Charles (William Powell and Myrna Loy) investigate a murder in a jazz club. I enjoyed the mystery and it wasn't as convoluted as I thought it might be. I loved Dean Stockwell (pictured with Loy and Powell, top photo) as little Nicky and in fact I would have liked to see more of him. Supporting roles by Keenan Wynn (portrayed with Loy, Powell, Stockwell and Asta, middle photo), Gloria Grahame (underused), Leon Ames, Jayne Meadows, Ralph Morgan and Don Taylor. Also Marie Windsor has a very small part at the end of the film. I'm a bit sad that the series has come to an end and that there aren't more Nick and Nora films to discover and enjoy. Fortunately we can rewatch them because personally I can't get enough of Powell and Loy together (both pictured with Wynn, bottom photo). They share such a great and natural chemistry, and I'm glad they were good friends off-screen. Hope to see Manhattan Melodrama (one of their films I haven't seen yet) soon. By the way, some nice cinematography by Charles Rosher of Sunrise: A Song of Two Humans fame. ★★★½ / 22.01.2023
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Most of the time I didn't know what was going on in TWELVE CROWDED HOURS (RKO, 1939), with the confusing numbers racketeer business, and this would have been fine by me if this film would have given more screen time to Lucille Ball (pictured, bottom photo, screenshot by me). I love her in 1930s films. She looks so pretty, love the sound of her voice, and I like to see her play all serious. But here she's criminally underused, her screen time is not even enough in order for me to decide whether she has good chemistry with Richard Dix (both pictured, top photo). Dix tries his best, as if he understands what the script and plot is all about, but he couldn't save this film for me. Funny thing is that Lucy's brother is being played by Allan Lane who plays her love interest in Panama Lady. Nicholas Musuraca photographed and Lew Landers directed. ★★ / 22.01.2023
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Sought out ONCE A DOCTOR (Warner Bros, 1937) for Jean Muir. This medical film sure packs a lot of plot in only 57 minutes, and there's enough drama to keep the viewer engaged, even though it's all fairly predictable. Donald Woods, with an unbecoming moustache, surprises and gives a good performance but there is little chemistry between him and Muir (both portrayed). Gordon Oliver is the film's scumbag and you really wait for him to get his comeuppance. Too bad Muir hasn't much to do. Again! I still hope to find a film where she has a more substantial role because I like her. William Clemens directed. ★★½ / 23.01.2023
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A MODERN HERO (Warner Bros, 1934) suffers a bit from a stilted lead performance by Richard Barthelmess. Still, I like him and I've seen him in wooden performances before. The film could have been more compelling, yet the story (Barthelmess as a circus performer wants to get ahead in life financially, climbing the social ladder, moving from one woman to another) isn't developed properly. It feels like one plot point after another is being presented without the narrative flowing naturally and therefore the drama never really sinks in. And once again, there's not enough of Jean Muir (pictured, bottom photo / pictured with Barthelmess, top and middle photo). She disappears from the screen for far too long. I do like the supporting roles by the other women (Marjorie Rambeau, Verree Teasdale, Florence Eldridge, Dorothy Burgess), especially Rambeau as Barthelmess' mother is good. Directed by G.W. Pabst, his only Hollywood film. ★★ / 24.01.2023
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I had not expected anything from LOVE NEST ON WHEELS (Educational Pictures, 1937) — a Buster Keaton short talkie — because of the unfavourable reviews I read online. Sure, some of the gags we've seen before (apparently it's based on the Keaton/Roscoe Arbuckle 1918 short The Bell Boy), but I still had really fun with this and even laughed/chuckled a couple of times (e.g. the cow stuck in the trailer, the elevator operated by the horse, the hot towel trolley). Also, loved the opening scene in front of the hotel (pictured, top photo, screenshot by me). Buster as Elmer (pictured, bottom photo, screenshot by me) keeps sounding weird to me when he talks, but I love Buster so much and it was fun to see him play with the Keaton family (pictured, middle photo), reminiscent of The Beverly Hillbillies family. Myra Keaton, Buster's real mother, plays Elmer's mother, and Louise Keaton and Harry Keaton play Elmer's sister and brother (Buster's real siblings). This is the last of the films Buster made for Educational Pictures. Directed by Charles Lamont. (By the way, both IMDB and Letterboxd only mention Lamont as the director, but the film's Wikipedia page says the short is directed by Buster Keaton and Charles Lamont.) ★★★ / 26.01.2023
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I came across THE WIDOW FROM CHICAGO (First National Pictures, 1930) on Letterboxd, never heard of before, and someone mentioned in his/her review how cute Alice White and Neil Hamilton are together. Well, I like Hamilton and I like cute and I wouldn't mind seeing him as part of a romantic couple. So I checked it out. Story-wise this is nothing new: the heroine of the story wants to take revenge on the murderer of her cop brother and infiltrates a mob. The boss of the gang happens to be Edward G. Robinson (pre-Little Caesar), who easily gives the film's best performance, but the acting skills of the female lead Alice White leave a lot to be desired. The first scenes with her and her brother are pretty bad. She shares some nice moments with Neil Hamilton (both pictured with Robinson), pretending to be his wife, but because I couldn't warm up to White nor her character, I wasn't really invested in the romantic relationship here. I did like Hamilton, just wished for a different actress. Edward F. Cline, known for his work with Buster Keaton, directed. ★★★ / 26.01.2023
Came across a very clear print online of the pre-code film WILD GIRL (Fox Film Corporation, 1932) which I've been meaning to see because I love both Charles Farrell and Joan Bennett. Joan plays a tomboyish girl (not so wild, by the way), falling in love with a stranger (Farrell), who's on the run for the local authorities for killing a mayoral candidate (both pictured in three screenshots by me). The story is okay as well as the performances but the scene-stealer here is the location shooting at Sequoia National Park, California. The tall trees look magnificent. I like the supporting roles of Ralph Bellamy (being noble about not getting the girl) and Eugene Pallette (he's adorable). Also, some pre-code signs like Joan skinny-dipping, and I liked the opening credits where the characters introduce themselves. The transitions between scenes as if a page is being turned over in a book are nicely done too. And oh .... Charles Farrell looks positively gorgeous here and I love his hair! Raoul Walsh directed. ★★★ / 27.01.2023
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MANHATTAN MELODRAMA (MGM/ Cosmopolitan Productions, 1934) tells the story of two boy orphans who are friends and end up at opposide sides of the law when they grow up. Directed by W.S. Van Dyke, this drama shows the first pairing of William Powell and Myrna Loy on screen and the chemistry is there, right from the start. I love their first meeting in the taxi and was immediately rooting for Powell to get the girl. Though Clark Gable and Loy have great chemistry as well (both pictured, top photo), there's something magical about Loy and Powell together (all three pictured, middle photo). Gable's bad boy character doesn't stand a chance next to Powell's righteous man of law, but somehow Gable makes his character likeable with his irresistible charm and he's great in his role. I loved the scenes between Gable and Powell, their interplay seemed very natural (in real life they were both husbands to Carole Lombard), and the final moment in the prison cell, where Powell tries to save his friend, got me teary-eyed. By the way, Mickey Rooney as a young Clark Gable, how believable is that? Not! Yet both actors display the same vibrant energy, so that's at least comparable. In any case Mickey gives a great performance. Further supporting roles by Leo Carrillo (pictured with Loy and Powell, bottom photo), Nat Pendleton and Isabel Jewell, and nice photography by James Wong Howe. Note: notorious bank robber John Dillinger was shot to death by federal agents at Chicago's Biograph Theater on 22 July 1934, after having come out of hiding to see Manhattan Melodrama. In her autobiography Being and Becoming, Myrna Loy says: "They put me right to work in Manhattan Melodrama, which precipitated the demise of John Dillinger, Public Enemy No. 1. FBI agents shot him down outside the Biograph Theatre, in Chicago, after he'd seen the film. Supposedly a Myrna Loy fan, he broke cover to see me. Personally, I suspect the theme of the picture rather than my fatal charms attracted him, but I've always felt a little guilty about it, anyway. They filled him full of holes, poor soul." ★★★½ / 28.01.2023
I had fun with the pre-code comedy HIGH PRESSURE (Warner Bros, 1932), starring William Powell as a fast-talking con man/business promotor who can sell anything. Powell is clearly the best thing about this fast-paced film and perfect for the role. I was a bit disappointed with the female parts, though. I would have preferred another actress as Powell's girlfriend, and though I do like Evelyn Brent (pictured with Powell, top photo), she somehow didn't fit in this movie (she was great with Powell in The Last Command). And Evalyn Knapp (pictured with Powell, bottom photo) as the secretary didn't have much of a role at all. Further support by Frank McHugh and Guy Kibbee. There are also some great art deco sets and Powell's desk is gorgeous. Mervyn LeRoy directed. ★★★ / 29.01.2023
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I primarily watched THE FLIRT (Rolin Films, 1917) for its runtime of only 7 minutes. Fortunately it was very short because there was little to like here. Harold Lloyd is annoying while trying to hit on waitress Bebe Daniels (both pictured) and I didn't think this short was funny at all. Well, better luck next time. Directed by Billy Gilbert. ★½ / 31.01.2023
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I expected a full-blown drama from EMMA (MGM, 1932) but instead it started lighthearted with slapstick moments, e.g. the flight simulator, the broken travel bag and the loose wool thread, the alarm going off in a crowded room. The drama only kicks in when Jean Hersholt dies. Though Marie Dressler clearly carries this film, I found her performance a tad overdone, and frankly, the film feels like a mixed bag. Anne Shirley (uncredited) plays young Myrna Loy but only has two scenes or so, and although Loy (I watched this film for her) has a bit more screen time (but not nearly enough), she doesn't leave much of an impression (Loy pictured with Dressler). Clarence Brown directed. ★★ / 31.01.2023
There you have it! My first round-up of the new year. I'm not entirely dissatisfied with the amount of films I watched, yet I hope to get a bigger score next month. My aim is also to spend more time blogging this year, so apart from round-up posts (where I will hopefully discuss more films per month than just 5 or 10), I'd also like to do additional posts. Or at least publish some of the posts that have been sitting in my draft folder for ages. See you next time!
