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"Make Way for Tomorrow," Leo McCarey's quiet tragedy about an elderly couple who are left with few choices when their adult children are reluctant to take care of them, is one of those films that grows in stature the more you think about it.

On one hand, it's a bit heavy handed and simplistic in the way 1930s films frequently were and which makes them seem dated now -- the parents are a bit too saintly, the children a bit too awful. As a study of characters, the film would have been more interesting if it had provided some insight into why the children turned out the way they did and what role the parents played in shaping them into the selfish adults they become. The children would have been more interesting if they had been portrayed more humanely; Thomas Mitchell, as the oldest son, is the only one who comes across as something other than a selfish horror.

But the film is more interested in examining a social topic than it is in exploring characters, and in that way it feels ahead of its time, even if its sophistication doesn't fully sink in until after you've had some time to think about the movie. For a 1937 film, it's extremely unsentimental when it might have been downright maudlin. The parents move about with a resigned air, and the film doesn't pander for sympathy. As one of the extra features on the DVD points out, audiences aren't interested in movies about old people even now, let alone then. And we haven't gotten much better at the way we view and treat the elderly in the 70+ years since "Make Way for Tomorrow" debuted. One of the things I liked best about the movie -- and that makes it still incredibly relevant -- is that it shows how dismissive younger generations are about older people, and how children seem to think their parents don't have lives outside of them. As portrayed brilliantly by Beulah Bondi and Victor Moore in the film, these two doddery folk have a rich history together; they had a life before children and they have a life after; they have things to teach, wisdom to impart, and they're very sharp and astute about what's going on around them. One of the biggest tragedies in the film is something that goes almost unspoken, and that's the disappointment they feel in their children but won't let their children see.

The final sequence of the movie is downright magical, when Bondi and Moore blow off their children to revisit the haunts of their honeymoon. It's funny, sad and almost unbearably poignant without being schmaltzy, thanks partly to the low-key direction of Leo McCarey but mostly to the wonderful performances of the two actors.

A lovely film.

Grade: A

One of the greatest tear-jerkers of all time. The sad tale of how two parents lose their house and not one of their children will let their own parents live with them. I agree, Miss Bondi deserved to win the Oscar that year but what else can I say about that subject. If you ever get to see this film, bring along a box of tissues. Make that two.

I cannot believe that this movie did not receive any Academy Awards! I give it "All T's", for touching, tender, terrific, and tearfully timeless!!! Why it continues to be overlooked and not made into a video behooves any Beulah Bondi fan and people like me that have had the privilege of catching it tucked away between 2am infomercials on other stations. Get it on the shelf in the video stores! I've been looking for it for years! Can you say, "Bitter batter baby buggy bumpers" to your spouse as lovingly as these two lovebirds did in that 1937 classic? Romeo, Juliet, Scarlett and Rhett can't hold a light to 'Pa' and 'Ma' Cooper!

One of the few American movies to look seriously (and reasonably honestly) at old age, this 1937 melodrama won wonderful reviews, but apparently it was so sad that audiences couldn't bear to look at it. While McCarey was justly celebrated for his sensitive direction, let's start with the shrewd, shaded screenplay, where nobody's entirely good or bad: The children do mean well, but let selfishness intervene; the aged parents are victims, but they're also unavoidably inconvenient and occasionally annoying. It is, unfortunately, a timeless topic -- parents turning into dependent children, children turning into their parents' parents, and the government yammering ineffectually about the problem decade after decade.

McCarey spins the tale out with subtle humor -- just a wink from Victor Moore, a visual aside by Beulah Bondi, says more than several lines of dialogue would. Plus, this is a couple whose passion has survived the years; they can't keep their hands off each other. The notion's a bit hard to swallow, perhaps a contrivance to tilt the viewer's sympathies more in their direction and away from the thoughtless middle-aged kids. But it does work dramatically and makes the last 20 minutes or so almost unbearably poignant. And the last shot, of Bondi, is unforgettable; it's up there with Garbo in "Queen Christina."

MAKE WAY FOR TOMORROW (Paramount, 1937), directed by Leo McCarey, ranks one of the very best and well scripted dramas from the Golden Age of Hollywood, and one worthy of recognition and/or rediscovery. No longer available on any local TV channel as it was in the 1970s, MAKE WAY FOR TOMORROW had frequent revivals on American Movie Classics, from June 20, 1994 until its final air date, April 3, 1999, and a Turner Classic Movies premiere September 6, 2010. Thus far, it's never been distributed on video cassette but DVD distribution did finally come many years later.

Yes, MAKE WAY FOR TOMORROW is sad, moving, but so very true to life dealing realistically about coping with old age. Victor Moore and Beulah Bondi (in possibly the best film role in her entire career) play an elderly couple who lose their home and find that their adult children are finding excuses NOT to take them in. A situation that even rings true even by today's society. Leo McCarey won an Academy Award as Best Director that year for the comedy THE AWFUL TRUTH (Columbia), starring Irene Dunne and Cary Grant. McCarey was reported to have said that he had won for the wrong movie, that it should should have won for this one. I agree. As much as THE AWFUL TRUTH is a fine movie in its own right, MAKE WAY FOR TOMORROW is a far better production, dramatically anyway.

In support here are Fay Bainter (in a rare unsympathetic role); Thomas Mitchell (the only one of the children to know how selfish he has been while the others refuse to realize it themselves), Porter Hall, Barbara Read (as the adolescent granddaughter) and Elisabeth Risdon. While MAKE WAY FOR TOMORROW lacks star names, it consists of character actors in leading parts, which is just as good. Victor Moore, usually in comedic supporting parts or leads in program productions (better known as "B" movies), is fine in a rare dramatic role, but is overshadowed by Beulah Bondi, whose performance is excellent as well as tear inducing. Although she plays a woman possibly in her late 70s, she was actually 45 when the film was made. Sadly, MAKE WAY FOR TOMORROW did not receive a single Academy Award nomination. If a nomination was to be offered, it definitely would go to Bondi as Best Actress for such highlights as sitting sadly in her rocking chair as the radio plays the sentimental score of "I Adore You" as introduced in Paramount's own COLLEGE HOLIDAY (1936), along with her closing scene at the train station bidding husband Moore farewell to the underscoring of "Let Me Call You Sweetheart," scenes that remain in memory long after the movie is over.

The plot might sound trite in print, but to see it is to appreciate the kind of movie that can never be remade in the same manner as the original nor come anywhere close to great motion picture making such as this one. (***1/2)