The Wet Parade (1932)

Drink!

***This Review Contains Spoilers***

The Wet Parade is unusually long for a pre-code film at 2 hours resulting in a real mini-epic and an informative history lesson on the topic of the prohibition of alcohol in The United States by people who had just lived through it. Whereas most films on the topic focus on the criminal side of prohibition, The Wet Parade focuses on how it affected regular law abiding people.

The first act of The Wet Parade takes places in the American south and this portion of the film does meander a bit (also what is up with that cut made 19 minutes into the movie? – It couldn’t have been less jarring if they tried). None the less it’s worth patient wait for the shocking, pre-code melodramatics this act has to offer as Lewis Stone in the role of a southern gentleman succumbs to the bottle in the most over the top fashion. It’s not enough that he ends up victim to alcoholism; he has to be found dead in a literal pigsty. After the proceeding funeral his daughter Maggie (Dorothy Jordan) offers a beautiful, histrionic breakdown after seeing her father’s friends using whiskey have a toast to their departed friend (“And I only hope I live to see the day, that every bit that was ever made is poured into a cesspool where it belongs”). So yes, just blame the drink and not place any personal responsibility on her father’s lack of self-control. – More on this later.

The remainder of The Wet Parade takes place in New York City in which Maggie is introduced to the hotel owning Tarleton family and their son Kip (Robert Young). Walter Houston as the father of the family couldn’t ham it up more if he tried in the role of Pow Tarleton with his manly, Victorian demeanor. Pow is a hardcore Democrat and Woodrow Wilson fanboy as he drunkenly fawns over the commander in chief. Early in the film, he is seen giving a rousing political speech on the street which is contrast to a Republican elsewhere as it intercuts to both sides accusing the other of infringing on people’s liberates. –  Huston himself would go on to portray a fictional POTUS himself the following year in Gabriel Over the White House.

Films dealing with politics in Hollywood’s golden age rarely would mention actual political parties and by extension not identify characters as being associated with actual real-life parties (at most they would imply party connections). The Wet Parade is an exception to this as various characters are identified as being either Republican or Democrat. There is no clear political alliance The Wet Parade sides with yet it is an interesting observation that all the identified Democrats in the film are rowdy men’s men and heavy drinkers (“I never knew a Republican that could hold more than a pint”) while the two identified Republicans are pretty boys who don’t drink.

The Wet Parade provides an overview of the events which eventually leads to prohibition being enacted. This begins with the re-election of Woodrow Wilson in 1916 and immediately after the results come in on election night, a group of Democrats sing a loud isolationism chant which dissolves into stock footage of marching troops to George M. Cohen’s ‘Over There’. – Nice one. With the US involved in the Great War we see the food control act introduced which Pow refers to as “the hick towns of the Bible belt are behind this, a snide blue-nosed trick to force the county into prohibition”. The Anti-Saloon League then begins pushing to get the Food Control Act into permanent, national law. This is followed by a scene in which we see the angry reaction from the soldiers in the trenches on whom it’s supposed to benefit, frustrated that they won’t be able to get a drink once they return home.

Following the introduction of prohibition, Pow’s wife catches him with a drink in the basement and grabs the bottle off him before smashing it on the floor. Pow strangles her then proceeds to beat her up, killing the poor woman in one of the most shocking moments in pre-code cinema. As a result, Kip and Maggie unite to crusade against the illegal alcohol trade, united by the damage and death alcohol has brought upon both their families. There is a historical analogy in this as long-time leader of the Anti-Saloon League Wayne Wheeler was himself was motivated by his disdain for alcohol due to a childhood incident in which an intoxicated hired hand accidentally stabbed Wheeler with a hayfork.

The Wet Parade showcases the negative effect alcohol can have on people’s lives but more importantly demonstrates how prohibition caused more problems than it solves, removing the tool rather than going to the root of the problem. As one of the gangsters in the film describes the illegal trade, “An industry bigger than the one they abolished”. The film even goes as far as acknowledging the government was behind the poisoning alcohol which made drinkers lose their sight. In one scene Kip and Maggie are given a good talking down by a friend (Neil Hamilton) in a line which best sums up the moral crusade which was prohibition; “People have been drinking for thousands of years, you can’t keep liquor away from people that want it. The minute you tell them they can’t have it more of them are going to stop drinking and get drunk instead.”

Rounding out the large cast of The Wet Parade is Myrna Loy during her bad girl phase. Her character is based on actress and speakeasy owner Texas Guinan and she even utters Guinan’s catchphrase “Give the little lady a big hand!”. The movie does not let down in its Loy factor and she has a satisfying amount of screen time even if it takes an hour until she first appears.

The Wet Parade is directed by Victor Fleming, most famous for directing The Wizard of Oz and Gone With the Wind both in the same year. I think The Wet Parade may be the most interesting film he’s done outside of that. Outside of the film’s opening act in the American south, the remainder of the picture moves at a very brisk pace and features a large number of long takes. The Wet Parade is one of the most informative films on this period of American history and makes for a great double feature with the James Cagney prohibition spanning gangster picture The Roaring Twenties.

Noah’s Ark (1928)

Need An Ark? I Noah Guy!

***This Review Contains Spoilers***

Noah’s Ark was Warner Bros’ attempt to create a Cecil B. DeMille picture and one with very odd results, to say the least. It was a common convention for silent epics to tell two or more concurrent stories, one set in modern times and the others set in the ancient world with these being tied together with the same thematic elements (even Buster Keaton parodied this format in his feature Three Ages). Noah’s Ark from 1928 is not a very good film but it can at least go down in the history books as a bizarrely interesting one.

Noah’s Ark begins with some striking images of the Tower of Babel of which the movie compares to modern day skyscrapers. This is followed by an appearance of the Golden Calf with the title card (*in a booming Charlton Heston voice) “And throughout the ages, the worship of the Golden Calf remains man’s religion”. Cut to images of frantic modern day stock brokers followed shortly by a ridiculous montage of gambling and partying to the dissolve of a statute of Jesus which sheds a tear. Oh boohoo! This moralising couldn’t get more over the top if they tried.

Noah’s Ark is a movie trying way too hard to be profound. It’s already used the Old Testament to try and decry capitalism; the remainder of the film tries to state an anti-war message through the story of the Ark. I’m not a theologian but the connection the film tries to make between Noah’s Ark and World War I isn’t even strenuous at best. The movie’s justification for this is that the war and the story of the Ark both resulted in vast destruction and death. Paul McAllister plays a minister who serves as the biblical counterpart for Noah and proclaims before the movie transitions to the biblical tale itself (*in a booming Charlton Heston voice):

 “The Flood – it was a deluge of water drowning a world of lust!”

“This war – it is a deluge of blood drowning a world of hate!”

“The flood and the war, God Almighty’s parallel of the ages”

Yeah, you tell yourself that Buddy.

I do quite like the basic, melodramatic war story which is charming and mildly engaging. George O’Brien and Guinn “Big Boy” Williams are two American friends by the names of Travis and Al. The two are residing in Europe and may have a sexual thing going on between them as through much of their interactions they remain physically close, are very touchy and even have a romantic look in their eyes. On top of that during the actual Noah’s Ark portion of the film their biblical counterparts Japheth and Ham are even more homoerotic with their exposed chests. Travis, however, is going to marry his German love interest Marie (Dolores Costello), however, war breaks out and not only is married to a woman from an enemy nation but he’s also initially avoiding conscription. – This is one of those films in which the plot if maximised for upmost melodramatic effect.

65 minutes into what is the longest existing version of Noah’s Ark and we finally get what we came for. The portion of the film about the creation of the ark and the proceeding flooding is the best part of the film. Right of the bat, it’s very dreamlike – I just notice that Dolores Costello’s hairstyle is a few millennia off. It also has the most bizarre representation of God trying to communicate with mere mortals, by carving a giant book into the side of a mountain via lightning. If the film was only comprised of this it would be a really good short film. The movie’s much-touted flooding sequence if a spectacular sight with its huge sets, extras galore and water; lots and lots of water. However what’s made Noah’s Ark most infamous in the history books are the sources which say that several extras drowned during the making of the flood and reportedly 35 ambulances were called out to treat the wounded. You only have to watch the sequence itself to see the extras on screen do appear to be in real danger.

Noah’s Ark was a part-talkie and as a result, you have some very stilted acting during the talking scenes but you can’t blame them. The direction of the film is fine but that distinctive Michael Curtiz style is not as apparent as his later talkies. The obvious model train seen early in the film is cute but in comparison to the flood sequence, if realism was their goal then they failed. Also, can a lightning strike destroy a bridge made out of stone?

Myrna Loy is billed at the bottom of the main players screen at the beginning but only appears in one scene, in which she gets to speak and her first time to do so on screen. Sources do state, however, she also appears in the flooding sequence as a golden-winged dancer before the sacrificial altar but this viewer failed to spot her among the carnage. It does seem odd that for a rather high billing that she appears only very briefly in the film. I can only speculate that perhaps she appeared in more scenes in which were removed for re-releases of Noah’s Ark and have since become lost.

Once the story of Noah comes to a close we are brought back to the present and lo and behold, the war has ended and the armistice is signed. The Minister then makes a proclamation to echo Woodrow Wilson’s  famous statement “The war to end all wars” (* once more in a booming Charlton Heston voice):

“I mean that war is now an outlaw, and will be hunted from the face of the earth. Those ten million men have not died in vain.”

Yeah, you tell yourself that Buddy.

Night Flight (1933)

picmonkey_image-31

Par Avion

Night Flight is possibly the most forgotten all-star ensemble film ever made, thanks in no small part to the movie being withdrawn from public circulation for 69 years due to a copyright dispute. Although an all-star picture, Night Flight belongs to John Barrymore. The sight of him strutting and giving monologues in front of a giant map of South America is a magnificent sight to behold. He has the Warren William type role as a flight director for a Trans-Andean European airmail company in which he goes to extreme lengths to get the job complete while trying not to let empathy get mixed in. As a viewer I’m left to question are his actions justified or is he taking things too far? Considering the perils of early aviation should he even be sending men out at night and in such terrible conditions to deliver mail? However, he claims if they don’t send planes out to fly at night then the train service will overtake them and make the outfit an unviable business. He will even go to unethical measures such as lying to a pilot that there was nothing wrong with his engine after he reported otherwise to remove any fear he had. As seen in the film Command Decision starring Clark Gable, running an outfit like this you will have to make decisions which will make you unpopular. – “Ask the impossible, demand it!”

Viewers may be disappointed to find out Clark Gable has a mere four lines of dialogue in the entire film. Although this makes sense as the role doesn’t lend itself to many speaking opportunities as he is confined to the cockpit of a two-person plane in which communication is best carried out by passing written notes to each other – As a result, Gable’s scenes play out like a silent film. That said it wouldn’t be fair to say Gable is put to waste as the movie does a good job at increasing the tension of these scenes throughout the course of the film as the plane runs out of gasoline and encounters terrible weather conditions.

Robert Montgomery has the film’s most interesting character arc. It’s clearly evident that the guy is into prostitutes and during a particularly impressive sequence in which he comes close to death flying through a canyon in the Andes, he has to come to terms with this experience after landing. Thus he ends up favouring a friendly night with a very itchy Lionel Barrymore over booze and hookers. After he refuses to be called for duty on another flight his character disappears and we never find out what happens to him. Night Flight would also be one of Myrna Loy’s earliest ventures into the role of the perfect wife, going from the exotic to another form of typecasting, but there is no denying nobody could do it better than her.

Night Flight is full of picturesque luminosity in this rare non-Cedric Gibbons design at MGM. The film also stands out for its prevalent use of Star Wars style transitions and even one particular sequence which looks very much like the intro to the TV soap Dallas in this favourable and idealised representation of a much westernised South America in which there is little showcase of poverty.

The structure in Night Flight is held together by a subplot in which a serum package that has to be delivered across the continent in order to save a child’s life (the movie pulls no punches in the opening by showing a child’s funeral). No one involved in the flying, however, is aware of this package yet it turns out this was by accident rather than design as the inclusion of the serum package subplot was an afterthought. Producer David O’Selznick thought the film didn’t have enough tension and had these additional scenes inserted after the film was shot. However, I found this does succeed in holding the film together more. Likewise original cut of Night Flight ran at over two hours with the release version being 85 minutes – who knows what was left out?

Libeled Lady (1936)

The Front Page

The opening credits of Libeled Lady are not your typical list of screen names, instead we get footage of the four main stars walking arm in arm very happily as their names come on screen one by one. Four heavyweights in roles which play to their strengths, giving some of the best dialogue the screwball comedy has to offer. Libeled Lady is my favourite newspaper comedy, a world in which journalistic ethics are nonexistent and people struggle to make relationships and careers in journalism mix. Warren Haggerty (Spencer Tracy) is so preoccupied with his job as the managing editor of a paper he has missed his own wedding several times, so no surprise Jean Harlow gives a very comically angry performance throughout most of the film.

William Powell’s Bill Chandler has such cool and confidence, he even draws his own contract which will bring him back to the paper he was sacked from as he knows Warren Haggerty will come looking for him following a scandal. Powell gets the chance to show the full range of his comic abilities, not only as a master of words but also gets showcase slapstick comedy similar in vain to Buster Keaton or Charlie Chaplin during the film’s fishing scene. The subplot of Bill Chandler learning to fish would be the basis of Howard Hawk’s comedy Mans’ Favorite Sport?. Despite how incredibly fast he picks up the ability to fish like an expert it doesn’t feel contrived.

A portion of the story is spent trying to find William Powell with telephone, telegraph, and radio as their means of communication. Outdated aspects like in old movies always intrigues me and makes me ponder if stories like this could be told today. With the internet and other modern communication devices, they could have been able to recall those newspapers at the start of the film. Likewise, publications today are no less obsessed with covering the escapades of socialites and people famous for being famous; but Connie Allenbury (Myrna Loy) is not a typical socialite. She is down to Earth, has an image distorted by the media and can even outwit the paper. It’s appropriate this role would be played by Myrna Loy; the so-called only good girl in Hollywood.

The Prizefighter and the Lady (1933)

Women Weaken Legs!

I’ve seen many a boxing film and despite having no real interest in the sport I find they often make for great stories – I consider The Prizefighter and the Lady (written by the great Francis Marion) as one of the great unsung boxing films with its less than conventional and exceedingly well acted and conveyed love triangle. What’s particularly striking about this romance is how intriguingly pathetic in a way it is. Belle (Myrna Loy) falls in love with a dunce of a jock named Steven (played by real-life boxer Max Baer) – “A big kid” as Belle calls him. Steven is a man who doesn’t seem to know any better and Belle is fully aware of this but can’t help that she has fallen for him; you really can feel the raw sexual attraction between these two, especially in their introductory scene in which Loy has nothing but a blanket draped over her.

The third end of the triangle of this not so swooning love story is Willie Ryan (Otto Kruger) as Belle’s original lover. Willie is a crime boss but is not presented as your typical hardnosed gangster (nor is it clear what the extent of his criminal activities are). Willie cares deeply for Belle and the two even talk openly about Belle’s newly found feelings for Steven. However, Belle eventually informs Willie she has got married to Steven and leaves him and her life as a socialite for more mundane and dowdy existence, leaving Willie with one heartbroken face with two tears coming off his face. – The Prizefighter and the Lady is full of little, subtle acting moments like this you wouldn’t notice on first viewing.

Perhaps that would be enough drama but no, Steven, the ladies man who is all muscles and no brain is cheating on Belle with multiple women. It does raise the question of what sane man would play adultery when you’re married to Myrna Loy?! The female lead of Prizefighter and the Lady would be a unique part for any major Hollywood actress. MGM was known for their glamorous stars yet here is Myrna Loy appearing dowdy and I suspect at times not be wearing any makeup – we are even introduced to her being lifted out of a car wreck and covered in dirt. While I’m not a fashion connoisseur every once in a while I will see a film from the 1930s and fawn over the outfits. Every outfit worn by Loy in The Prizefighter and the Lady is to die for. Likewise, her singing of the song Downstream River in the nightclub is enchanting, even if it’s obviously not her voice doing the singing. – She is a quintessential symbol of urbanity.

Oh yeah, and there is boxing in this film too, right? Older films generally aren’t known for their stellar boxing scenes. The film’s combination of slowed down footage and frequent cuts doesn’t look fantastic but it’s not totally immersion breaking. Likewise, I just wish the film could have done without the rather cheap, 7-minute long musical number entitled “Lucky Fella, Lucky Guy”. What more than compensates is the gorgeous high contrast cinematography in the boxing arenas; you can feel the grit and grime of the sweaty, smoke-filled atmosphere in another example of the type of neo-realism the pre-code era had to offer.

The Thin Man (1934)

Meddling Adults

William Powell and Myrna Loy, will I ever get bored of watching these two? I wish I could possess the wit and charm of William Powell, someone who can still remain classy and have a way with words even when inebriated (which is often). I wish I could be married to a woman like Myrna Loy. For Nick and Nora Charles being married is just one crazy murder mystery solving adventure after another! With so many movies in which marriage is a hindrance, here are two people who revel in being married without the worry of children (for now anyway).  I find myself jealous at these two for their existence of seemingly never-ending fun. It’s no wonder audiences of the 1930’s where attracted to these escapist fantasies in their droves.  Sometimes a man and a woman with impeccable chemistry is all you need for cinematic greatness.

The Thin Man gave birth to Myrna Loy receiving the label “the perfect wife”. Loy disliked this label but it’s not hard to see why she got such a reputation. She seems too perfect to exist like she was conjured out of the mindsets of what heavenly actress should be. It’s not all just Nick and Nora though, there is an entertaining supporting cast including the Wynet family, the classic screwball comedy troupe of the oddball family. It’s not My Man Godfrey levels but they are a bunch of nuts, with my favourite being the wannabe criminologist who is the polar opposite of the suave Nick Charles.

The Thin Man is a fairly inexpensive feature but shows how you can do so much with so little. The sequels had larger budgets and never captured the feeling or the intimacy of the first film. The scene in which Nick and his dog Asta go sleuthing by themselves in an inventor’s laboratory is almost entirely silent, features gorgeous noir cinematography and has me breathless watching the whole thing; setting the stage for the shady noir world of the 1940’s. I’ve seen The Thin Man several times and I still don’t understand the plot yet that doesn’t make the movie any less engaging. Rather it makes me want to watch the film again in hopes that I eventually will understand the plot.

Men In White (1934)

Medical Melodrama

***This Review Contains Spoilers***

Initially I was skeptical at weather Clark Gable would make a convincing doctor but not only does he pull it off (even if he is the most gorgeous doctor ever *swoons) Men In White has to be my favourite performance I’ve seen him deliver portraying the idealistic and dignified young Dr. George Ferguson; 60 years before George Clooney in ER. Men In White is a perfect showcase of what Gable is cable off while Myrna Loy, although not dominating the film as much still shares a mature romance with Gable who must make difficult decisions between his profession and his love life. Rest assured I got the satisfactory amount of swooning I would expect from a pairing of these two.

I cannot stress enough just how astounding this movie looks. This is without a doubt most stunning black and white film I’ve seen from the 1930’s. Every scene is light so immaculately with multi-layered and angled shots plus the widespread use of shadows giving the film shades of noir. Even the classic noir shot of the shadows created by blind shutters on one’s face to show they have become imprisoned in life is present. Likewise, the art deco design of the hospital itself would likely not be practical in real life but it sure as hell looks good; needless to say the removal of eyes from the screen is easier said than done. The film’s set designer was Cedric Gibbons, a regular at MGM who helped create the distinctive look of their films in the 1930’s and surely Men In White is one of his greatest achievements.

Movies like this where common in the 1930’s, glorifying those who held jobs central to society (Tiger Shark, Night Flight, Slim). Call them propaganda but they were effective and informative. Although I don’t have any real interest in medicine or healthcare (despite both my parents being nurses) Men In White gives a real sense of awe and wonder to medical world such as when Dr. McCabe (Henry B. Walthall) the elder doctor who gives a rousing speech at the beginning of the film on all the medical advances in his lifetime (anesthesia, sterilization, surgery, x-ray) and the figures behind them. We’ve come much further since 1934, certainly when it comes to the etiquette of the doctors on display. In one scene a doctor hits on a nurse in the open for everyone else to hear while other doctors have no problem openly talking about their sex lives (“Being in love kills your sex life”). There is even one scene in which a doctor is running through the public area of the hospital wearing only a towel! If that happened today it would be all over the tabloids.

Men In White paints a picture of just how demanding a job as a doctor is, working round the clock; Dr. Ferguson works 16-18 hours a day for $20 a week (in 1934 or course). His finance Laura (Myrna Loy) has a selfish streak to her, getting frustrated with Ferguson when he’s only doing his job and one which is detrimental to saving the lives of others. Additionally Jean Hersholt (Hollywood’s great Dane and an actor who has that look of great intellect) as Ferguson’s mentor pressure’s George to put greater priority to his career than his love life. The film’s ending isn’t so predictable having me question whether or not George and Laura will end up together in the end.

Men In White also showcases corruption which can exist within hospitals when a superior doctor knowingly gives a child too much insulin, only for Dr. Ferguson to interfere even if it puts his job on the line. Once the child recovers from the insulin overdose, the superior doctor takes the credit; douche. The child, however, thanks and hugs Dr. Ferguson at the end of the film in what I feel is the movie’s most inspiring moment. Gable isn’t playing a brute here like he often does but rather someone who can project a level of warmth especially with his interaction with his child patient.

The scene in which Dr. Ferguson and the English nurse Barbara Den (Elizabeth Allen) are bonding over their loneliness and then start kissing is a breathtaking sequence. This leads to the most daring aspect of Men In White is the inclusion of abortion in the film’s plot. When I first watched the film I didn’t catch on that the big surgery scene itself was the result of a failed back alley abortion as the film’s hints are very subtle; it’s all in the undertones of the movie. That’s one reason why Men In White is re-watching; distinguishing what’s being said and shown versus what is really going on. If anything this is much more fun and satisfying having the movie simply spell everything out to the viewer.

When it is discovered Nurse Den attempted to get an abortion it is simply alluded to that she has a condition worse than a ruptured appendix and before the surgery itself Dr. Ferguson is questioned, “who is the man?”. It’s not made clear if the child being terminated is the result of the affair between Ferguson and Den, however, before their fling she is seen feeling unwell. Although I can’t comment of how accurate a depiction Men In White is of the medical profession I was still amazed at the level of detail in the movie from the terminology to the wide range of instruments used. One particular moment which stood out to me was the rigorously high level of sanitization the staff must go through prior to surgery. The film has an economic length of only 73 minutes but packs so much content. I’d happily become ill just to go to this hospital.

The Mask of Fu Manchu (1932)

The Wrath of Genghis Kahn

Talk about a trashy film, just how trashy? Boris Karloff plays a sort of Asian Hitler hell-bent on exterminating the white race, or how about the scene which involves Myrna Loy having a sexual fetish from seeing a man being whipped. Man, pre-code Hollywood was not right in the head. The film’s plot is like an Indiana Jones film which never got made (or more importantly could never be made), like Indiana Jones getting an artifact before the Nazis to avoid them harnessing its power to take over the world except here its Asian Nazis. This is the kind of film which is so off the wall that its fun describing it in one of the purest pieces of pulp escapism to come out of the 1930’s.

In today’s politically correct world where everything offends everyone and people are obsessed with racism (like seriously, what well-known movie doesn’t have a “This movie is racist” topic on IMDB) I find there’s a certain joy that comes from watching something as shocking and politically incorrect as The Mask of Fu Manchu; like a kid watching R rated movies behind their parent’s back. Even as late as the 90’s scenes from The Mask of Fu Manchu had to be cut for a VHS release (thankfully now in it’s fully restored original version on DVD) – notice for example how picture quality degrades for the line “A China man beat me? He couldn’t do it”.

Old Hollywood had an odd fascination with East Asia and Eastern Asian mysticism as Lewis Stone’s characters states, “Will we ever understand these eastern races, will he ever learn anything?”. Is it right to simply dismiss The Mask of Fu Manchu as a “racist” film? Is there a malicious intent with the film to demonize a race and culture with Dr. Fu Manchu being the anthesis to Judeo Christian values, or is it merely the representation of the perversion of a foreign culture and race.

No expense is spared on Fu Manchu’s layer. This is the bad guy layer that would make James Bond villains jealous. Complete with torture devices, crocodile pits, an assortment of mad scientist gizmos of topped with all-round luscious deco making The Mask of Fu Manchu one of the most visually sumptuous films of the pre-code era. Like any Bond villain Fu Manchu could kill his opponents with a simple gunshot but instead puts them on devices which will kill them at a slow pace, and yes, they’re able to escape and halt the bad guy’s evil plans.

Boris Karloff prevents the character of Fu Manchu coming off a total caricature, showing he is a man of taste and culture and one who puts the genius in evil genius, boasting that he is a doctor three times over having graduating from three different universities. Likewise, it amazes me how Myrna Loy transformed her image from an exotic to something as far from that as possible within such a short period of time; thankfully she didn’t do these kinds of roles for too long a period of time. I delight at that stoic dialogue she delivers and her ever menacing presence.

Manhattan Melodrama (1934)

Melodrama’s so much fun, in black and white for everyone to see.

***This Review Contains Spoilers***

A gangster movie starring Clark Gable, William Powell and Myrna Loy, thankfully I was not disappointed. Watching these three titans of classic Hollywood in action (and sadly the only picture in which Gable and Powell appeared together), Manhattan Melodrama not only had me enthralled from beginning to end, it’s hypnotizingly good. Gangsters, dames, urbanites, class and sophistication, this movie encompasses elements of 1930’s cinema which I’m a sucker for – and yes, the film has the word melodrama in the title, something that would never happen in contemporary cinema.

The Angels With Dirty Faces style plot allows for poignant social commentary, with Powell as a district attorney trying to avoid corruption and not allowing his personal feelings to affect his decisions. William Powell’s performance as Jim Wade is the best I’ve seen him deliver; just listen to the emotional plea he gives during the movie’s courtroom scene. His character is essentially a fantasy, an elected member of government who’s entirely honest. When Wade goes against his ethics and engages in cronyism he tells the truth to the public and resigns from office rather than trying to desperately cling onto power. There’s doubt Powell had a real knack for playing lawyers and elected members of office.

Not to undo Gable as Blackie Gallagher, the manner in which he acts during the film’s final third is simply heartbreaking as he constantly jokes around despite being sentenced to the electric chair in the film’s finale. The ending of this movie just kills me as Wade’s friend since childhood is sentenced to death; it’s near the top of my list of all time tear-jerking scenes, pure cinematic tragedy. The lights of prison even dim as the switch is pulled, the ever classic cliché. In real life that doesn’t actually happen but in the film it is the final tug of the heartstrings. Also, it seems hard to believe now that Mickey Rooney would play a child version of Clark Gable but in 1934 audiences couldn’t have seen what he would turn out to be as an adult.

Does there exist an actress who doesn’t have great chemistry with Clark Gable or even any actor for that matter? Manhattan Melodrama is the first of fourteen screen pairings of Powell and Loy, and their first scene together couldn’t be more perfect, in which she falls into his lap in the back seat of a car as she starts to deliver exposition in the most adorable manner.

MGM is not generally associated with the gangster genre. Manhattan Melodrama doesn’t have the grit of Warner Gangster films but works in its own style of MGM’s glossy high production values and ranks as one of the best gangster films I’ve seen from the 1930’s. The movie seems to be more famous for being the last movie seen by gangster John Dillinger, who was shot by federal agents as he exited a Chicago movie theater. His reason for going to see the movie, apparently he was a Myrna Loy fan. The love of Loy killed John Dillinger, I guess I can’t blame him.

Love Crazy (1941)

Serving the Nuts

I believe every great actor should have at least one movie in which they get to go completely over the top and out of character (Barrymore in Twentieth Century, Leslie Howard in Its Love I’m After, Bogart in Treasure of the Sierra Madre, Stewart in Vertigo). For William Powell, Love Crazy provided him with his opportunity in easily the most slapstick oriented comedy ether Powell or Myrna Loy ever done; from heads being stuck in elevator doors to characters slipping on the same rug several times throughout the film. It’s not John Barrymore levels of over the top but compared to William Powell’s usual soft-spoken persona it’s pretty over the top.

Love Crazy is the William Powell show all the way, showcasing the complete range of his abilities as a comedic actor in a plot which is like a tabloid newspaper story turned into a screwball comedy; a jokey representation of mental illness which wouldn’t be politically correct by today’s standards. All the more fun then! One of the scenes from any film Powell has appeared which I feel best demonstrates his comedic timing is when he is tasked with convincing a lunacy commission of his sanity by placing shaped blocks into their corresponding holes. It’s such a basic task yet with his overzealous confidence he still manages to convincingly screw it up; it works on so many levels. Yet as the film progresses, I end up feeling particularly sorry for his character due to losing a wife like Myrna Loy and having her despise you, all over one improbable misunderstanding.

But not to undo Myrna Loy with her stand out moment being a surprisingly erotic scene with Jack Carson in which both of them are bare-shouldered and she even utters the line, “It will smell like an orgy”. On top of that, I find myself in awe that there is a straight up dick joke in this movie (“He has to have his torso free when he shoots his bow and arrow”). Of all the sneaky jokes they got past the censors I’ve heard in screwball comedies, this is one of the most unsubtle. Likewise, Gail Patrick who plays Powell’s former girlfriend appears to be a bit of a nymphomaniac; badly wanting him shortly after meeting for the first time in years despite both of them now being married, not to mention it’s his anniversary night! Just listen as the seductively tells Powell “Stevie I’m bored!”. There’s quite a bit of setting up in Love Crazy but the payoffs are worth it. Love Crazy also gets a big boost from the apartment sets designed by Cedric Gibbons. The painted backdrops of skyscrapers high in the sky and the art deco shading, it’s beautiful.

I had the benefit of going into Love Crazy unaware of the screwball hijinks which occur during the third act. If it’s not too late for you, I recommend doing the same otherwise stop reading but yes, William Powell dresses up in drag as a tall, butch woman and convincingly at that. He even goes to the length of sacrificing his trademark moustache – now that’s commitment.