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1942: Once Upon a Honeymoon Just finished watching this for the second time, and I found that it is definitely a film one must watch multiple times to really enjoy. I think the first time I was constantly focusing on the historical aspect of the film rather than the real juice.  In the simplest of terms, the film describes the forbidden relationship between Cary Grant and Ginger Rogers in Western Europe during World War II. They fight, they fall in love, they battle the dangers of the war torn world, and they live happily ever after. But who’s really surprised there?  I adore both of these actors, as you know, so when I saw that this movie existed, I just knew I would enjoy it. It didn’t seem to matter whether the plot was a little crazy, the dialogue a little ridiculous, and the supporting cast a little culturally ambiguous. What fascinated me the most was how this film was released in 1942, probably filmed in 1941, while the war was still going strong. There has never been more of a pro-America propaganda film before that I’ve seen actually released in wartime. The most wonderful war film I’ve seen is, of course, The Best Years of Our Lives, and that wasn’t released until 1946. It’s only interesting because usually Hollywood waits until after an international event has passed before they document it on film. This even features one of the first, I can assume, Hitlers to be depicted on screen.  I’m really glad I watched this film again, these two characters never fail to be delightful - perhaps with the unfortunate exception of Monkey Business, but that’s a whole other decade and issue entirely.  Four stars! 

1942: Once Upon a Honeymoon

Just finished watching this for the second time, and I found that it is definitely a film one must watch multiple times to really enjoy. I think the first time I was constantly focusing on the historical aspect of the film rather than the real juice. 

In the simplest of terms, the film describes the forbidden relationship between Cary Grant and Ginger Rogers in Western Europe during World War II. They fight, they fall in love, they battle the dangers of the war torn world, and they live happily ever after. But who’s really surprised there? 

I adore both of these actors, as you know, so when I saw that this movie existed, I just knew I would enjoy it. It didn’t seem to matter whether the plot was a little crazy, the dialogue a little ridiculous, and the supporting cast a little culturally ambiguous. What fascinated me the most was how this film was released in 1942, probably filmed in 1941, while the war was still going strong. There has never been more of a pro-America propaganda film before that I’ve seen actually released in wartime. The most wonderful war film I’ve seen is, of course, The Best Years of Our Lives, and that wasn’t released until 1946. It’s only interesting because usually Hollywood waits until after an international event has passed before they document it on film. This even features one of the first, I can assume, Hitlers to be depicted on screen. 

I’m really glad I watched this film again, these two characters never fail to be delightful - perhaps with the unfortunate exception of Monkey Business, but that’s a whole other decade and issue entirely. 

Four stars! 

(Source: trinketenthusiast)



(Source: misscarolelombard)



1937: Nothing Sacred Oh my, another wonderful romantic comedy from the 1930s. As I’ve seen many times before, there’s a great contrast between the Pre-Code and the Code films. As we learned in class, the Code Enforcement allowed film makers and producers the opportunity to be creative, to use the power of suggestion in ways never seen before. Film narrative took a very important turn.  Carole Lombard is another favorite of mine, and I’m wondering if Gary Cooper ever starred in a film with her. They seem to have a similar tone to their comedic characters. My absolute favorite Lombard film simply has to be My Man Godfrey, but I’m hoping to watch many more.  There was a cruel irony to this film, as it follows the scam of Lombard’s character claiming she is on her deathbed, when in reality, she is perfectly healthy. She falls in love with Fredric March, fools the whole city of New York, only to come clean, and run off into the sunset. It was bizarre to see her speak of her own death so frequently in this film, because only five years later would Carole Lombard tragically die in a plane crash. It remains to this day one of the most horrific and heartbreaking stories in the history of Hollywood.  This one was wonderful, I definitely recommend it for a great Lombard flick. 

1937: Nothing Sacred

Oh my, another wonderful romantic comedy from the 1930s. As I’ve seen many times before, there’s a great contrast between the Pre-Code and the Code films. As we learned in class, the Code Enforcement allowed film makers and producers the opportunity to be creative, to use the power of suggestion in ways never seen before. Film narrative took a very important turn. 

Carole Lombard is another favorite of mine, and I’m wondering if Gary Cooper ever starred in a film with her. They seem to have a similar tone to their comedic characters. My absolute favorite Lombard film simply has to be My Man Godfrey, but I’m hoping to watch many more. 

There was a cruel irony to this film, as it follows the scam of Lombard’s character claiming she is on her deathbed, when in reality, she is perfectly healthy. She falls in love with Fredric March, fools the whole city of New York, only to come clean, and run off into the sunset. It was bizarre to see her speak of her own death so frequently in this film, because only five years later would Carole Lombard tragically die in a plane crash. It remains to this day one of the most horrific and heartbreaking stories in the history of Hollywood. 

This one was wonderful, I definitely recommend it for a great Lombard flick. 

(Source: pickurselfup)



(Source: thescrewballcomedy)



(Source: vlajean)



1933: Design for Living I stumbled upon this Pre-Code comedy last night at Mediawave amidst failing my search for A Free Soul. This was pretty goofy, as is everything that stars Edward Everett Horton. I adore his type-cast character, always so unaware of everything that is going on. He is a prime example of the word oblivious.  This film is about a love triangle that is never resolved. Gilda is sleeping with both Thomas and George, and despite their efforts to become “law abiding citizens,” they decide at the end to simply continue their bizarre living situation together in Paris. As many pre-Code comedies are, there’s a cheekiness to the humor that quickly disappears when the Code is enforced.  I think my favorite Gary Cooper characters are found in his earlier comedies. Obviously, nothing beats Longfellow Deeds, but these Pre-Code characters he plays really allows the audience to experience his comedic talent. I know everyone loves him in High Noon, but I’m always going to admire the innocent-but-guilty character he plays in every 30s romantic comedy.  This one was pretty funny, I’ll give it four stars. 

1933: Design for Living

I stumbled upon this Pre-Code comedy last night at Mediawave amidst failing my search for A Free Soul. This was pretty goofy, as is everything that stars Edward Everett Horton. I adore his type-cast character, always so unaware of everything that is going on. He is a prime example of the word oblivious. 

This film is about a love triangle that is never resolved. Gilda is sleeping with both Thomas and George, and despite their efforts to become “law abiding citizens,” they decide at the end to simply continue their bizarre living situation together in Paris. As many pre-Code comedies are, there’s a cheekiness to the humor that quickly disappears when the Code is enforced. 

I think my favorite Gary Cooper characters are found in his earlier comedies. Obviously, nothing beats Longfellow Deeds, but these Pre-Code characters he plays really allows the audience to experience his comedic talent. I know everyone loves him in High Noon, but I’m always going to admire the innocent-but-guilty character he plays in every 30s romantic comedy. 

This one was pretty funny, I’ll give it four stars. 

(Source: frankiemachines)



1922: My Wife’s Relations I’m now backtracking to more favorites: another Buster Keaton short! This one was lovely, clearly using the same set as The Haunted House (1921), and the same level of insanity. It follows a rich, young man in Poland who accidentally breaks the window of a terrifyingly large woman. As they go to court to deal with the matter, they are unintentionally married, as the issue of the day was lost in translation. Poor little Buster Keaton is next surrounded by equally large family members who despise him, but it’s not long until they discover his pleasant financial background. He finds out their intensions, there’s a great chase scene, and he escapes on a train. One can only assume he is off to an English speaking country.  I had another Keaton moment: Similar to the vase being tossed up in the air by Keaton and him aiming another man’s head under the falling object, to avoid actually doing the deed, he hits a similar moment in this film. On his way out the door, the final swing of defense goes with a brick in Keaton’s hand. The man crumples into the fetal position, as Keaton takes the brick and places it under the man’s head like a pillow. Seriously, there’s no one else quite like this man. And ohhhhh, do I love him.  This was wonderful, five stars! 

1922: My Wife’s Relations

I’m now backtracking to more favorites: another Buster Keaton short! This one was lovely, clearly using the same set as The Haunted House (1921), and the same level of insanity. It follows a rich, young man in Poland who accidentally breaks the window of a terrifyingly large woman. As they go to court to deal with the matter, they are unintentionally married, as the issue of the day was lost in translation. Poor little Buster Keaton is next surrounded by equally large family members who despise him, but it’s not long until they discover his pleasant financial background. He finds out their intensions, there’s a great chase scene, and he escapes on a train. One can only assume he is off to an English speaking country. 

I had another Keaton moment: Similar to the vase being tossed up in the air by Keaton and him aiming another man’s head under the falling object, to avoid actually doing the deed, he hits a similar moment in this film. On his way out the door, the final swing of defense goes with a brick in Keaton’s hand. The man crumples into the fetal position, as Keaton takes the brick and places it under the man’s head like a pillow. Seriously, there’s no one else quite like this man. And ohhhhh, do I love him. 

This was wonderful, five stars! 

(Source: laughinggravy)



1937: Stage Door It’s on TCM! I’m skipping ahead because I simply couldn’t resist. Katharine Hepburn and Ginger Rogers star in this RKO classic directed by Gregory La Cava (also directed My Man Godfrey - LOVE.) It tells the tale of a boarding house filled with aspiring actresses, dancers, and singers. There’s competition over roles, men, and clothing.  This film embodies perfectly the standard characters of both Katharine Hepburn and Ginger Rogers. I’ve read both of their autobiographies, and similar to their characters in the film, they couldn’t stand each other in real life. I couldn’t imagine it being any other way, as they were both equally strong-minded and stubborn, defensive and territorial. Even though by the end of the film they repair their differences, I doubt this was something that happened off the screen.  Stage Door was pretty good, it was similar to Gold Diggers of 1933, if you remove the Busby Berkeley aspect…which is very difficult to do. There were certainly some dark parts to the film, but the two main characters make several resolutions. It leaves you with a pleasant satisfaction, that’s for sure. I don’t know if I’ll ever need to see it again, so I’ll give it a solid four star rating. 

1937: Stage Door

It’s on TCM! I’m skipping ahead because I simply couldn’t resist. Katharine Hepburn and Ginger Rogers star in this RKO classic directed by Gregory La Cava (also directed My Man Godfrey - LOVE.) It tells the tale of a boarding house filled with aspiring actresses, dancers, and singers. There’s competition over roles, men, and clothing. 

This film embodies perfectly the standard characters of both Katharine Hepburn and Ginger Rogers. I’ve read both of their autobiographies, and similar to their characters in the film, they couldn’t stand each other in real life. I couldn’t imagine it being any other way, as they were both equally strong-minded and stubborn, defensive and territorial. Even though by the end of the film they repair their differences, I doubt this was something that happened off the screen. 

Stage Door was pretty good, it was similar to Gold Diggers of 1933, if you remove the Busby Berkeley aspect…which is very difficult to do. There were certainly some dark parts to the film, but the two main characters make several resolutions. It leaves you with a pleasant satisfaction, that’s for sure. I don’t know if I’ll ever need to see it again, so I’ll give it a solid four star rating. 

(Source: curiouscharm)



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In the Wee Small Hours of the Morning- Frank Sinatra

(Source: stardustmelody)



Now voyager, sail thou forth to seek and find.
Walt Whitman in The Untold Want


1930: The Medicine Man I’m back!  First off, if anyone ever tells you that this is a comedy, do not believe them. It has some serious Pre-Code child abuse and general domestic violence as well as a whole bunch of con-man activity. There were certainly comedic elements, but it was certainly not what I felt like watching on this fine evening.  It’s about a daughter and son who have an abusive father. The title references a show that’s in town that advertises itself as free but actually continually cons people out of money through gambling and scams. This guy (Jack Benny in an early role) falls in love with the daughter, and they essentially sneak around so the father won’t discover their forbidden relationship. At the end, the father dies, they wed, all is well. But seriously, quite a downer throughout.  Hopefully 1931 will bring a plethora of films that I’ll be emotionally prepared for. We start off with Blonde Crazy, starring James Cagney and Joan Blondell. Again, I apologize for the delay. I’m really itching to get back in the swing of things, finals really held be back for a bit. This summer will definitely be filled with more late night movie watching.  To sum up, The Medicine Man - not a comedy. It’s only alright. Three stars? 

1930: The Medicine Man

I’m back! 

First off, if anyone ever tells you that this is a comedy, do not believe them. It has some serious Pre-Code child abuse and general domestic violence as well as a whole bunch of con-man activity. There were certainly comedic elements, but it was certainly not what I felt like watching on this fine evening. 

It’s about a daughter and son who have an abusive father. The title references a show that’s in town that advertises itself as free but actually continually cons people out of money through gambling and scams. This guy (Jack Benny in an early role) falls in love with the daughter, and they essentially sneak around so the father won’t discover their forbidden relationship. At the end, the father dies, they wed, all is well. But seriously, quite a downer throughout. 

Hopefully 1931 will bring a plethora of films that I’ll be emotionally prepared for. We start off with Blonde Crazy, starring James Cagney and Joan Blondell.

Again, I apologize for the delay. I’m really itching to get back in the swing of things, finals really held be back for a bit. This summer will definitely be filled with more late night movie watching. 

To sum up, The Medicine Man - not a comedy. It’s only alright. Three stars? 



Marlene Dietrich and Gary Cooper on the set of Borzage’s Desire, 1936

Marlene Dietrich and Gary Cooper on the set of Borzage’s Desire, 1936

(Source: frankiemachines)



Here is my apology for my total absence in the past two weeks. Finals have been insane! Here is my promise: I will be watching Half Shot at Sunrise, the lovely musical comedy from 1930 within the next few days and I will be reviewing it. And it will inspire me to get back on track with my list. Two weeks off! What a waste. My film professor assigned an exam that’s taking five days to finish, oh boy. We’re really hitting the home stretch. 

Here is my apology for my total absence in the past two weeks. Finals have been insane! Here is my promise: I will be watching Half Shot at Sunrise, the lovely musical comedy from 1930 within the next few days and I will be reviewing it. And it will inspire me to get back on track with my list. Two weeks off! What a waste. My film professor assigned an exam that’s taking five days to finish, oh boy. We’re really hitting the home stretch. 

(Source: fancyandtragic)



(Source: frankiemachines)