1930s_Time_Machine
Joined Dec 2021
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Ratings799
1930s_Time_Machine's rating
Reviews773
1930s_Time_Machine's rating
If you merged a classic gangster story with the typical rags to riches boxing movie you'd get this. It's very professionally made, it never lets your interest wane and you don't need to be a boxing fan to enjoy it.
What makes this such an entertaining film and not just something for boxing fans is superbly written, believably acted and dynamically directed characters. It's a perfect example of how a picture about a subject you might not think you're interested in can be totally engrossing because the characters just click with you. Like all good dramas, this is about interesting people - people you can believe in - people you care about.
E G Robinson was at the top of his game when he made this. You obviously know it's EGR but for an hour and a half, he's not an actor, he's Nick Donati, he is that fascinating and complex real person with real issues. Bette Davis was in that brief phase of her career when she was getting decent roles and was also something of a sex symbol. It's not really her film but for what she has to do, she's absolutely perfect - and I must admit, surprisingly hot! She's somewhat like a younger version of Tallulah Bankhead.
To see just how quickly the art of filmmaking was developing in the 1930s, compare this with THE LIFE OF JIMMY DOLAN made just four years earlier. Whilst that film is a pretty decent boxing flick, it feels decades older in its style and authenticity. Michael Curtiz's fastidious direction and realistic dialogue makes this feel like something from the 40s or even 50s.
What makes this such an entertaining film and not just something for boxing fans is superbly written, believably acted and dynamically directed characters. It's a perfect example of how a picture about a subject you might not think you're interested in can be totally engrossing because the characters just click with you. Like all good dramas, this is about interesting people - people you can believe in - people you care about.
E G Robinson was at the top of his game when he made this. You obviously know it's EGR but for an hour and a half, he's not an actor, he's Nick Donati, he is that fascinating and complex real person with real issues. Bette Davis was in that brief phase of her career when she was getting decent roles and was also something of a sex symbol. It's not really her film but for what she has to do, she's absolutely perfect - and I must admit, surprisingly hot! She's somewhat like a younger version of Tallulah Bankhead.
To see just how quickly the art of filmmaking was developing in the 1930s, compare this with THE LIFE OF JIMMY DOLAN made just four years earlier. Whilst that film is a pretty decent boxing flick, it feels decades older in its style and authenticity. Michael Curtiz's fastidious direction and realistic dialogue makes this feel like something from the 40s or even 50s.
If Leslie Howard had made nothing else, if Bette Davis had made nothing else or if Eric Blore hadn't been the butler in TOP HAT they'd still be considered 'the greats' because of this. This is a perfect romantic comedy.
Miss Davis, Miss de Havilland and Mr Howard have all perfected the ability of hamming up their performances just enough to make them funny whilst still credible and believable. Eric Blore however playing Howard's 'Jeeves' is hilarious - even better than he was in TOP HAT. Possibly BRINGING UP BABY might be the funniest film of 1938 but this comes pretty close. Davis and Howard had worked with Archie Mayo a year before making the fantastic PETRIFIED FOREST so the established team (along with super-professional Olivia de Havilland) knew how to make pictures!
There's a definite pre-code feel to this. Unlike a lot of the bland, formulaic "A. I. generated" comedies of the late thirties, the raw, playful fun associated with that era is plentiful here. The plot is a lot saucier than you'd expect for 1938, indeed someone like Laemmle might have even considered it too racy for him to make in the early thirties? And on the same theme: Olivia de Havilland's negligee - say no more!
It's not just the superb cast; the clever and genuinely funny story and dialogue alone are enough to elevate this to your classic shelf. Also, hearing Ashley Wilkes say to Melanie: 'Who's Clarke Gable?' is priceless.
Miss Davis, Miss de Havilland and Mr Howard have all perfected the ability of hamming up their performances just enough to make them funny whilst still credible and believable. Eric Blore however playing Howard's 'Jeeves' is hilarious - even better than he was in TOP HAT. Possibly BRINGING UP BABY might be the funniest film of 1938 but this comes pretty close. Davis and Howard had worked with Archie Mayo a year before making the fantastic PETRIFIED FOREST so the established team (along with super-professional Olivia de Havilland) knew how to make pictures!
There's a definite pre-code feel to this. Unlike a lot of the bland, formulaic "A. I. generated" comedies of the late thirties, the raw, playful fun associated with that era is plentiful here. The plot is a lot saucier than you'd expect for 1938, indeed someone like Laemmle might have even considered it too racy for him to make in the early thirties? And on the same theme: Olivia de Havilland's negligee - say no more!
It's not just the superb cast; the clever and genuinely funny story and dialogue alone are enough to elevate this to your classic shelf. Also, hearing Ashley Wilkes say to Melanie: 'Who's Clarke Gable?' is priceless.
If you like old wartime flicks with plucky Brits thwarting Nazis, here's your film! It's not one of the classics but all the familiar ingredients are there blended professionally together but maybe with not quite enough seasoning.
Asquith's directions reveals his theatrical background and inexperience with the fast moving thriller genre. This is as far removed from 'fast moving' as you can imagine. The problem is that it's directed as though it was a stage play. The intimacy you get from sitting in front of a live performance doesn't happen in a moving picture unless a different approach is taken. Nevertheless the clever story and interesting array of quirky characters keeps your attention. But it doesn't fully engage with you like the best thrillers do.
If only to see Alastair Sim as a baddie (or is he?), John Mills as the dashing hero (or is he?) and George Cole as a teenager (or is he?), this is worth a watch. Overall it's a good example of what entertained us and kept us positive during the dark days of the war.
In case you're wondering why they're talking about bomb sites, they're not. A bombsight is the device in a bomber which sets the trajectory of the bombs!
Asquith's directions reveals his theatrical background and inexperience with the fast moving thriller genre. This is as far removed from 'fast moving' as you can imagine. The problem is that it's directed as though it was a stage play. The intimacy you get from sitting in front of a live performance doesn't happen in a moving picture unless a different approach is taken. Nevertheless the clever story and interesting array of quirky characters keeps your attention. But it doesn't fully engage with you like the best thrillers do.
If only to see Alastair Sim as a baddie (or is he?), John Mills as the dashing hero (or is he?) and George Cole as a teenager (or is he?), this is worth a watch. Overall it's a good example of what entertained us and kept us positive during the dark days of the war.
In case you're wondering why they're talking about bomb sites, they're not. A bombsight is the device in a bomber which sets the trajectory of the bombs!