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Atmospheric and moody, Alfred Hitchcock’s Rebecca is a masterpiece of style and substance, an extended meditation on how the dead haunt the living. Photographed in somber shadows, few movies before or since have taken such glorious advantage of black-and-white film.
If you love Gone with the Wind, you must see the restored version that’s new to video. The remastered soundtrack is crisp and clear, and Max Steiner’s lavish score sounds wonderful, but it’s the cleaned-up film stock that astounds: Victor Fleming’s 60-year-old movie looks like it was shot this year.
You Can’t Take It with You, an adaptation of the play by George S. Kaufman and Moss Hart, is Frank Capra’s loving and wacky paean to nonconformity. The comedy is over the top but the moral of the story is a serious one: Find in yourself the courage to do with your life what you really want to do.
The Life of Emile Zola is a curiously uninvolving biopic — curious because the second half of the film operates at a distance from its professed subject, exchanging his for another man’s story.
Get past the set pieces that date the movie and make it twice as long as it might be, and The Great Ziegfeld — a biopic of theatrical impresario Florenz Ziegfeld Jr. — is a moving story of how the weaknesses and obsessions that ironically made one man a powerful entertainment mogul inevitably brought about his downfall.
It’s well over two hours long, it’s full of inappropriate accents, and it was filmed almost entirely on the ocean. No, it’s not the latest Kevin Costner epic — it’s Mutiny on the Bounty, a thrilling classic that remains surprisingly modern.
The ultimate dizzy, romantic, screwball comedy, It Happened One Night is not to be missed.
As we approach another century’s turn, it’s educational to look back at how society dealt with the last big rollover. Cavalcade follows the fortunes and misfortunes of two Victorian families — the prosperous Marryots and the working-classes Bridgeses — from New Year’s Eve 1899 to New Year’s Eve 1932.
It’s all very silly, the ultimate in Depression-era escapism: a piece of Hollywood magic that’s impossibly romantic filled with people who are impossibly elegant, bantering and wisecracking constantly. Its fascinating and diverse characters and a rather dark ending, however, give Grand Hotel more heft than any of its hellish spawn such as The Love Boat or Fantasy Island.
Wichita just ain’t far enough west for Yancey Cravat (Richard Dix). He longs for the untamed frontier. So when the 1889 Oklahoma land rush puts 2 million acres up for grabs, he packs up the wife, Sabra (Irene Dunne), and the kid, Cimarron (which means ‘wild,’ we’re told), and heads off to help build a new world, or, more specifically, the boomtown of Osage, Oklahoma.
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