1930s_Time_Machine
Joined Dec 2021
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1930s_Time_Machine's rating
Reviews686
1930s_Time_Machine's rating
This one's all about the mood which it has in abundance: a femme fatale, a disillusioned detective, the obligatory murder, mysterious figures lurking in the shadows and of course, it always seems to be raining. This however is more style than substance.
As a quick B movie, you can't criticise it too much: it does what it sets out to achieve but as a representative Film Noir it's very bargain basement. The splendid cinematography is its saving grace. It effortlessly drags you deep into that smoky murky world pulling you into the intrigue.
The acting feels like you're watching real people - you've fully engaging with them. The two leads are especially good: you find yourself willing that William Gargan's character will to do the right thing. You're outraged and somehow embarrassed that Janis Carter's twisted character is so genuinely seductive whilst at the same time being such a deplorable human being. She's a bad, bad woman that's for sure...possibly psychotic and it might have been interesting to explore her character a bit more. Gargan's character is pretty easy to read but Carter's is off the scale but we're not told why.
It's not just some characters that are under-developed, the story too is rather simplistic. That lack of depth makes this like biting into a sandwich and finding there's no meat inside.
It's certainly got that authentic mid-forties feel to it...which is odd since it's meant to be set in 1930! I can't think why everyone talked, dressed and acted like it was 1946....the cars however were authentic which made it look even weirder.
As a quick B movie, you can't criticise it too much: it does what it sets out to achieve but as a representative Film Noir it's very bargain basement. The splendid cinematography is its saving grace. It effortlessly drags you deep into that smoky murky world pulling you into the intrigue.
The acting feels like you're watching real people - you've fully engaging with them. The two leads are especially good: you find yourself willing that William Gargan's character will to do the right thing. You're outraged and somehow embarrassed that Janis Carter's twisted character is so genuinely seductive whilst at the same time being such a deplorable human being. She's a bad, bad woman that's for sure...possibly psychotic and it might have been interesting to explore her character a bit more. Gargan's character is pretty easy to read but Carter's is off the scale but we're not told why.
It's not just some characters that are under-developed, the story too is rather simplistic. That lack of depth makes this like biting into a sandwich and finding there's no meat inside.
It's certainly got that authentic mid-forties feel to it...which is odd since it's meant to be set in 1930! I can't think why everyone talked, dressed and acted like it was 1946....the cars however were authentic which made it look even weirder.
It's one of those films where you can tell those involved really enjoyed making it. When else would they get such a chance to ham it up so gloriously! That enjoyment they exude and that fun just bubbles out of the screen at you.
You might not think that watching a load of luvvies pretending to be even bigger luvvies would be fun but darlings, you'll be surprised. It's a bit slow at the start but as soon as Mr Calhern appears it's all action. Both EGR's self satisfied yet loveable luvvie and Louis Calhern's brilliantly unpleasant cad both reminded me very much of Clifton Webb's marvellously sarcastic, pompous Waldo Lydecker in Preminger's 1944 classic LAURA. They make a magnificently entertaining sparing couple.
The real credit here goes to the snappy and witty script that's based on a play by the 'real life' Waldo Lydecker, Alexander Woollcott and George Kaufman. And let's not forget director Archie Mayo - he might have made an awful lot of trash but he also made some absolute classics too. This isn't one of his best - its pace is a little inconsistent at times and the ending is horribly rushed but it's still a pretty polished production.
One of the pitfalls pictures about acting have is that they try to be too thespian, too professional about everything. Characters making witty and cutting remarks about a fictional director's skill on the screen can fall flat if what the audience is actually watching what looks like it's directed by a chimpanzee. They have to be very careful. This overcomes this problem with its dark humour and sense of utter absurdity. It's both very clever and very silly. It doesn't take itself too seriously but still retains its edge. Not a film to watch over and over again but it certainly deserves at least one viewing.
You might not think that watching a load of luvvies pretending to be even bigger luvvies would be fun but darlings, you'll be surprised. It's a bit slow at the start but as soon as Mr Calhern appears it's all action. Both EGR's self satisfied yet loveable luvvie and Louis Calhern's brilliantly unpleasant cad both reminded me very much of Clifton Webb's marvellously sarcastic, pompous Waldo Lydecker in Preminger's 1944 classic LAURA. They make a magnificently entertaining sparing couple.
The real credit here goes to the snappy and witty script that's based on a play by the 'real life' Waldo Lydecker, Alexander Woollcott and George Kaufman. And let's not forget director Archie Mayo - he might have made an awful lot of trash but he also made some absolute classics too. This isn't one of his best - its pace is a little inconsistent at times and the ending is horribly rushed but it's still a pretty polished production.
One of the pitfalls pictures about acting have is that they try to be too thespian, too professional about everything. Characters making witty and cutting remarks about a fictional director's skill on the screen can fall flat if what the audience is actually watching what looks like it's directed by a chimpanzee. They have to be very careful. This overcomes this problem with its dark humour and sense of utter absurdity. It's both very clever and very silly. It doesn't take itself too seriously but still retains its edge. Not a film to watch over and over again but it certainly deserves at least one viewing.
1933 was one of Hollywood's golden years - so many good films made then are just as enjoyable today as they were ninety years ago. This unfortunately isn't one of those but maybe because it was made in "the golden year" that it's better than most poverty row flicks. But with so many excellent films still around from then, why waste your time with also-rans?
The magic of early thirties movies is that they can transport you to a different world - one like ours, one that's familiar but also very strange. To some extent this succeeds but it succeeds more so in highlighting that it doesn't do it as well as X or Y or Z. These days our TV and films are filled with clever conspiracy stories, murky corruption in government or bent coppers - it's interesting to see how this film dealt with corruption but the plotting and the intrigue is very superficial and simplified. One thing it isn't is boring - no, this is exciting stuff - it's pretty much non-stop action even though it reminds me of the 1960s comic book inspired BATMAN tv show.
Pictures like this, especially ones with limited budgets are character driven so rely on you being to engage with those people on the screen, believing that they are real people. I'm not sure you can with this.... apart from Evalyn Knapp....almost. She single-handedly saves this cheaply made also-ran. Her pretty face and bubbly personality keeps you watching and although she's certainly no great actress and not in any way believable, she is kind of sweet. Preston Foster however is a bit of a non-entity.
Preston Foster....does he sound vaguely familiar? Maybe and this is one of those films where you'll recognise everyone but not know any of their names or know where you've seen them before. Sadly for independent film makers like William Berke outside of the studio system, all they could afford were z-listers, has-beens and the sort of actors whom today would be doing supermarket ads. Were this made at a big studio, you could imagine Paul Muni or Fredric March as the mayor and Joan Blondell would have been amazing as the sassy secretary - imagining how good this could be with big stars and a big budget somehow only serves to make this more disappointing.
For a bargain bucket movie it's not too bad. It is directed with zip, the acting is ok and the story is intriguing enough to keep your attention but other than being able to say: Evalyn Knapp, she was quite cute or wondering whether X or Y or Z was the butler in that thing you watched last month...what's the point?
The magic of early thirties movies is that they can transport you to a different world - one like ours, one that's familiar but also very strange. To some extent this succeeds but it succeeds more so in highlighting that it doesn't do it as well as X or Y or Z. These days our TV and films are filled with clever conspiracy stories, murky corruption in government or bent coppers - it's interesting to see how this film dealt with corruption but the plotting and the intrigue is very superficial and simplified. One thing it isn't is boring - no, this is exciting stuff - it's pretty much non-stop action even though it reminds me of the 1960s comic book inspired BATMAN tv show.
Pictures like this, especially ones with limited budgets are character driven so rely on you being to engage with those people on the screen, believing that they are real people. I'm not sure you can with this.... apart from Evalyn Knapp....almost. She single-handedly saves this cheaply made also-ran. Her pretty face and bubbly personality keeps you watching and although she's certainly no great actress and not in any way believable, she is kind of sweet. Preston Foster however is a bit of a non-entity.
Preston Foster....does he sound vaguely familiar? Maybe and this is one of those films where you'll recognise everyone but not know any of their names or know where you've seen them before. Sadly for independent film makers like William Berke outside of the studio system, all they could afford were z-listers, has-beens and the sort of actors whom today would be doing supermarket ads. Were this made at a big studio, you could imagine Paul Muni or Fredric March as the mayor and Joan Blondell would have been amazing as the sassy secretary - imagining how good this could be with big stars and a big budget somehow only serves to make this more disappointing.
For a bargain bucket movie it's not too bad. It is directed with zip, the acting is ok and the story is intriguing enough to keep your attention but other than being able to say: Evalyn Knapp, she was quite cute or wondering whether X or Y or Z was the butler in that thing you watched last month...what's the point?