[6] Robert Williams stars as a scrappy newspaper reporter who falls in love with a socialite (rising star Jean Harlow) who drags him kicking and screaming into hoity-toity upper-class society. But after numerous dinners and parties, awkward relationships with ‘the help,’ and one too many comparisons to a bird in a gilded cage, Williams begins to wonder if his marriage is worth the upheaval in …
[7] Two train engineers put their friendship to the test when one of them falls in love with the other’s wife in this noteworthy drama from William Wellman (Battleground, The High and the Mighty). I really enjoyed the first half of this movie, as Wellman gives us an intimate look at the everyday life of railroad workers. He puts the camera on top moving trains, …
[8] Barbara Stanwyck stars in this pre-code drama about a scrappy young nurse trying to save two sick children from an evil chauffeur (Clark Gable) whose poisoning them so he can marry their drunk mother (Charlotte Merriam) and steal their trust fund. Night Nurse is a great vehicle for Stanwyck, who spends the first half of the film befriending wise-cracking Joan Blondell and falling in …
[7] Frank Capra directs Barbara Stanwyck in this cautionary tale of phony evangelism. After her minister father dies unappreciated, Stanwyck’s character falls in with a con man (Sam Hardy) to open a church that fakes miracles. The operation becomes lucrative and Stanwyck becomes a celebrity, but when a blind musician (David Manners) demonstrates true faith and begins to fall in love with her, she begins …
[7] James Whale (Waterloo Bridge, The Invisible Man) directs Boris Karloff in his iconic performance as Frankenstein’s monster in this cornerstone of Universal Pictures’ monster movie legacy. The adaptation from Mary Shelley’s novel is somewhat loosey-goosey, but taken on its own merits, Whale’s film offers a lot of Gothic horror, expressionistic set design, and a handful of indelible images — including the monster’s laboratory ‘birth’ …
[5] Dorothy Mackaill stars as a young woman strung along by a wealthy suitor who eventually declines to marry her, souring her relationship with any man until a rich artist comes along and strikes her fancy. The Reckless Hour is cut from a well-used cloth, but moves briskly for an early talkie and features a couple of colorful supporting performances, namely Joan Blondell as Mackaill’s …
[6] Director William Wellman (Wings, Battleground) opens Safe in Hell with the title in flames, and I interpret that to mean, “Buckle up for melodrama.” Dorothy Mackaill stars as a woman who hits hard times in New Orleans while her husband is at war. She turns to prostitution to make ends meet, but early in the film a john gets rough with her and she’s …
[7] James Cagney makes his breakthrough performance as a Chicago street kid who becomes a successful gangster during prohibition. I don’t usually like gangster movies, but director William Wellman (Wings, The Ox-Bow Incident) frames The Public Enemy as a cautionary tale with a moral ending — it doesn’t glamorize the lifestyle like so many more modern movies do. And while I may not relate with …
[5] This early Oscar-winning best picture is uneven at best. Richard Dix makes for a hammy lead, while Irene Dunne is stuck playing his harpy of a wife. The film follows the two as they move west to Oklahoma at the end of the 1800s. The second half of the movie skips through so much time and character development, I felt pretty discombobulated by the …
[5] A mysterious woman enters detective Sam Spade’s office with information about a valuable statue called the Maltese Falcon. Spade is soon swept up into a mystery involving multiple pursuers of the statue in this famous story from Dashielle Hammett. This film directed by Roy Del Ruth is the first of three film iterations of the story. The third version — directed by John Huston …
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