lazarus
Blue Crack Supplier
This is the final decade that I'm going to be taking part in. Besides, the 20's would essentially be a list of Chaplin & Keaton films, and maybe some Dryer, Murnau & Lang. Not as much to choose from.
The stuff on this list isn't as visually artistic as stuff from the subsequent decades, with a few exceptions. To me this was more of a writer's decade, before the European directors brought their expressionism over to the U.S. and influenced the future of film. So there's a fair amount of screwball comedy on this list, which represent some of the greatest viewing experiences I've ever had, regardless of the lack of a visual stamp.
1. Bringing Up Baby (Hawks, '38)
Cary Grant & Katherine Hepburn in what may be the funniest comedy ever, that is as fresh as when it came out 70 years ago.
2. The Rules of the Game (Renoir, '39)
Often a runner-up to Citizen Kane in "best ever" polls. A masterpiece of satire on the French class system, funny yet totally heartbreaking. Essential viewing for anyone serious about film.
3. City Lights (Chaplin, '31)
One of the best endings ever. Not Chaplin's funniest (that would be The Gold Rush), but it's still hilarious, and more moving than you could imagine.
4. Gone With the Wind (Fleming/Cukor/Wood, '39)
Yes, melodramatic and socially dated, but it has astounding visuals, from the art direction to the cinematography, and two iconic performances. Titanic only wishes it was as good.
5. The 39 Steps (Hitchcock, '35)
Hitchcock's first masterpiece.
6. The Awful Truth (McCarey, '37)
Cary Grant and Irene Dunne get divorced, then run around in circles trying to prove to each other that they've moved on, which of course, they haven't. A sophisticated screwball comedy that still delivers on the pratfalls, and a great "relationship" story to boot.
7. The Grand Illusion (Renoir, '38)
A World War I film that's not really a war film (think The Great Escape) that will just kill you with its humanity. This one has everything, comedy, drama, suspense. One of many Renoir masterpieces.
8. Holiday (Cukor, '38)
Grant and Hepburn again, from the same guy who wrote The Philadelphia Story for the stage. This one is a darker comedy about a couple people who are a bit out of step with high society's demands of conformity. Not rough or political enough to really be labeled anti-establishment, but certainly a film that champions those with an original voice.
9. Duck Soup (McCarey, '33)
The Marx Brothers. Anarchy on film. Another candidate for funniest film of all time. You may have to watch it twice just to catch everything. But you'll want to anyway.
10. Captain Blood (Curtiz, '35)
Errol Flynn swashbuckling on the high seas. Makes Pirates of the Caribbean look like the over-produced theme park ride that it is.
11. Trouble in Paradise (Lubitsch, '32)
Male and female con artists on the Riviera. Think Dirty Rotten Scoundrels, but more sophisticated. Just as funny.
12. Ninotchka (Lubitsch, '39)
Lubitsch did American screwball with his distinct European flair. This one was famous for featuring Greta Garbo's first laugh on film. A smart and sweet political satire featuring a communist agent who shows up in Paris to check on her fellow comrades, who have been seduced by freewheeling capitalism. Co-written by Billy Wilder.
13. M (Lang, '31)
This one has a reputation that preceeds it, and it's every bit as good as rumor has it. A manhunt for a child murderer turns into a searing critique on mob violence that will have you questioning your own moral sense. Visually arresting as well.
14. Sylvia Scarlett (Cukor, '35)
Grant and Hepburn (and Cukor, and con artists) AGAIN! This one is set in England, with Hepburn posing as a man for much of the film. Grant is in rare full-on cockney travelling-player mode, closer to his real-life roots than any other role . A difficult-to-categorize film that will really surprise you--very underrated.
15. My Man Godfrey (LaCava, '36)
William Powell (a personal favorite of mine) with Carole Lombard (a beautiful and talented comedienne who deserves more attention from younger generations) in another great class system comedy. She's a little rich girl on a scavenger hunt, who winds up bringing home a homeless man, who actually turns out to be something much more.
I was sad to have to leave off a couple of Capra's great early films, as well as Howard Hawks' Twentieth Century (also with Lombard, and John Barrymore).
Special mention must go to the Thin Man series of films (the first 3 of 6 were made in the 30's) starring William Powell and Myrna Loy, great mystery-comedies with two charming stars who spend most of the films trading one-liners and cocktails. Can't recommend these films enough, and they're in a nice little boxed set that came out a couple years ago (also shown often on Turner Classic Movies)!
The stuff on this list isn't as visually artistic as stuff from the subsequent decades, with a few exceptions. To me this was more of a writer's decade, before the European directors brought their expressionism over to the U.S. and influenced the future of film. So there's a fair amount of screwball comedy on this list, which represent some of the greatest viewing experiences I've ever had, regardless of the lack of a visual stamp.
1. Bringing Up Baby (Hawks, '38)
Cary Grant & Katherine Hepburn in what may be the funniest comedy ever, that is as fresh as when it came out 70 years ago.
2. The Rules of the Game (Renoir, '39)
Often a runner-up to Citizen Kane in "best ever" polls. A masterpiece of satire on the French class system, funny yet totally heartbreaking. Essential viewing for anyone serious about film.
3. City Lights (Chaplin, '31)
One of the best endings ever. Not Chaplin's funniest (that would be The Gold Rush), but it's still hilarious, and more moving than you could imagine.
4. Gone With the Wind (Fleming/Cukor/Wood, '39)
Yes, melodramatic and socially dated, but it has astounding visuals, from the art direction to the cinematography, and two iconic performances. Titanic only wishes it was as good.
5. The 39 Steps (Hitchcock, '35)
Hitchcock's first masterpiece.
6. The Awful Truth (McCarey, '37)
Cary Grant and Irene Dunne get divorced, then run around in circles trying to prove to each other that they've moved on, which of course, they haven't. A sophisticated screwball comedy that still delivers on the pratfalls, and a great "relationship" story to boot.
7. The Grand Illusion (Renoir, '38)
A World War I film that's not really a war film (think The Great Escape) that will just kill you with its humanity. This one has everything, comedy, drama, suspense. One of many Renoir masterpieces.
8. Holiday (Cukor, '38)
Grant and Hepburn again, from the same guy who wrote The Philadelphia Story for the stage. This one is a darker comedy about a couple people who are a bit out of step with high society's demands of conformity. Not rough or political enough to really be labeled anti-establishment, but certainly a film that champions those with an original voice.
9. Duck Soup (McCarey, '33)
The Marx Brothers. Anarchy on film. Another candidate for funniest film of all time. You may have to watch it twice just to catch everything. But you'll want to anyway.
10. Captain Blood (Curtiz, '35)
Errol Flynn swashbuckling on the high seas. Makes Pirates of the Caribbean look like the over-produced theme park ride that it is.
11. Trouble in Paradise (Lubitsch, '32)
Male and female con artists on the Riviera. Think Dirty Rotten Scoundrels, but more sophisticated. Just as funny.
12. Ninotchka (Lubitsch, '39)
Lubitsch did American screwball with his distinct European flair. This one was famous for featuring Greta Garbo's first laugh on film. A smart and sweet political satire featuring a communist agent who shows up in Paris to check on her fellow comrades, who have been seduced by freewheeling capitalism. Co-written by Billy Wilder.
13. M (Lang, '31)
This one has a reputation that preceeds it, and it's every bit as good as rumor has it. A manhunt for a child murderer turns into a searing critique on mob violence that will have you questioning your own moral sense. Visually arresting as well.
14. Sylvia Scarlett (Cukor, '35)
Grant and Hepburn (and Cukor, and con artists) AGAIN! This one is set in England, with Hepburn posing as a man for much of the film. Grant is in rare full-on cockney travelling-player mode, closer to his real-life roots than any other role . A difficult-to-categorize film that will really surprise you--very underrated.
15. My Man Godfrey (LaCava, '36)
William Powell (a personal favorite of mine) with Carole Lombard (a beautiful and talented comedienne who deserves more attention from younger generations) in another great class system comedy. She's a little rich girl on a scavenger hunt, who winds up bringing home a homeless man, who actually turns out to be something much more.
I was sad to have to leave off a couple of Capra's great early films, as well as Howard Hawks' Twentieth Century (also with Lombard, and John Barrymore).
Special mention must go to the Thin Man series of films (the first 3 of 6 were made in the 30's) starring William Powell and Myrna Loy, great mystery-comedies with two charming stars who spend most of the films trading one-liners and cocktails. Can't recommend these films enough, and they're in a nice little boxed set that came out a couple years ago (also shown often on Turner Classic Movies)!
even in the regular version has some pretty risque scenes.
