REVIEWS OF RENTED DVDs I GET IN THE MAIL

Posts Tagged ‘barrymore family’

YOU CAN’T TAKE IT WITH YOU (1938)

In Best Picture Winners, Classic, Comedy, Family, Motion Pictures, Romance, Y on July 11, 2010 at 10:53 pm

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STUDIO – Columbia

CASTJean Arthur, Lionel Barrymore, James Stewart, Edward Arnold, Ann Miller, Spring Byington, Eddie “Rochester” Anderson, Samuel S. Hinds

DIRECTORFrank Capra

NOT RATED
(MPAA Equivalent: G)

Many moons ago, I was an eighth-grader going to what would later be my high school to attend a production of “You Can’t Take It With You“, the Pulitzer Prize-winning play by Moss Hart and George S. Kaufman. To be honest, I don’t remember much, except that it was required for my Drama class, and that I did laugh during the show. Then, more than a few moons later, I learned that not only did Frank Capra direct a movie based on the play, but that it also was the Best Picture of 1938. I have now seen it a few times, and I am happy to report that You Can’t Take It With You still makes me laugh!

Lionel Barrymore stars as Martin Vanderhof, patriarch of a household of eccentric people. Please pay attention, for there will be a pop quiz later in the article. Vanderhof’s daughter, Penny Sycamore (Spring Byington), took up writing plays because a typewriter was accidentally delivered to their home. Her husband, Paul (Samuel S. Hinds), makes fireworks in the basement with Mr. DePinna (Halliwell Hobbes), a long-time guest in the house. Paul and Penny have two daughters, Essie Carmichael (Ann Miller), who constantly dances and makes candy which her husband Ed (Dub Taylor) sells on the street, and Alice Sycamore, a stenographer for the vice-president of a major bank. As you can see, Alice seems to be the least eccentric of the bunch! Ah, but there’s more!

A.P. Kirby (Edward Arnold) and Martin Vanderhof (Lionel Barrymore) in jail

In the opposite corner is Anthony P. Kirby (Edward Arnold), banker and Wall Street mogul. His drive and ambition drove him to his position, thanks in part to his high-society wife (Mary Forbes). His latest project the development of 12 blocks currently occupied by homes, apartments, and small businesses into a munitions factory intended to be the dominant contractor of the U.S. War Department. And one of those homes is owned by one Martin Vanderhof, and he refuses to sell. By the way, A.P. Kirby had just promoted his son Tony (James Stewart) to vice-president of the corporation. But, despite his parents’ protests, Tony seems to be more interested in his stenographer than his job. Yes, you read that right: Alice works for (and is in love with) Tony! What a tangled web, indeed!

Considering it took two paragraphs to set up the story, I will not even begin to tell you how it unfolds (or unravels, depending upon your point of view), but I will say that You Can’t Take It With You is a timeless comedy sure to make you stop and ponder your life, and make you smile doing it. Lionel Barrymore is so easygoing as Vanderhof, that, before long, you forget he has crutches (by the time filming started, Lionel Barrymore had severe arthritis and a recent hip injury, so they wrote in an ankle injury for Vanderhof). Edward Arnold’s take on Kirby was somewhat cliché in the Capra style, but his performance proved to be a strong counterpoint to Barrymore’s.

The central core of the story is the star-crossed romance between Alice and Tony. This subplot plays out like a sort of comedic “Romeo and Juliet”: He is the son of a powerful banker, and she comes from a middle-class family who just happens to live in the house the banker is trying to buy. The twist occurs when Alice suggests to Tony that he bring his parents over to meet her family, and he does… one day early! Needless to say, the already awkward situation suddenly becomes downright messy!

Finally, You Can’t Take It With You is the story of A.P. Kirby’s journey to gaining that property, and what he did with it once he had it. Along the way, he learns an important lesson: True happiness isn’t measured in fortune, but in kindness and generosity. People should be entitled to do what they want to do, and not what others expect of them. For example, Tony has no ambitions of working in the family business, but he feels obligated because Kirbys have been bankers for “9000 years”. What he wants to do is figure out how to make the “green in the grass” into an energy source.  You have to admit that this idea was way ahead of its time; biochemical engineering was unheard of in the late-1930s!

On a personal level, this brings back my previous idea to reenter my intended career field, which I first mentioned in my write-up of Up in the Air. For too long, I have been trying to do what others want or expect me to do, and, for whatever reason, I kept running into roadblocks, setbacks, and an overall plain ol’ lack of direction. Again, I am not quite prepared to relay any details, but I have hatched an idea which I’m sure will give me a chance to freshen my skills and put my foot in the door. But enough about me; I promise to tell all when the time comes.

You Can’t Take It With You is nostalgic, irreverent, touching, poignant, and most important, fun. It has a great story, a wonderful cast, and running gags aplenty. The quality of the film itself is not the best (there are occasional black frames, for example), but don’t let that distract you; this is the true definition of a “feel-good” movie, guaranteed to make you cry tears of joy!

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GRAND HOTEL (1932)

In Best Picture Winners, Classic, Drama, G, Motion Pictures, Romance on May 25, 2010 at 5:08 am

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STUDIO — MGM

CAST — Greta Garbo, John Barrymore, Lionel Barrymore, Joan Crawford, Wallace, Beery, Lewis Stone, Jean Hersholt

DIRECTOR — Edmund Goulding

NOT RATED (MPAA Equivalent: PG-13)

“Grand Hotel. Always the same. People come. People go. Nothing ever happens…”

This now immortalized line, spoken by Dr. Otternschlag (Lewis Stone), heralds the beginning of the Best Picture of 1932, Grand Hotel, a motion picture which holds a unique record in Academy Awards history, and also has a unique history of its own. It is the only movie to win Best Picture without so much as a nomination in any other categories. It is also one of the earliest examples of what is now known as the “ensemble cast”, which included Greta Garbo, Wallace Beery, Joan Crawford, Jean Hersholt (as in the Academy’s humanitarian award), and not one, but two Barrymores (Lionel and John, in their second of four films together).

Grand Hotel spans three nights at the eponymous hotel in Berlin, where the lives of prima ballerina Grusinskaya (Garbo), Baron von Gaigern (John Barrymore), stenographer Flaemmchen (Crawford), businessman Preysing (Beery), terminally ill bookkeeper Otto Kringelein (Lionel Barrymore), war veteran Dr. Otternschlag (Stone), and porter – and expectant father – Senf (Hersholt) overlap, and in some cases collide. Grusinskaya is depressed, and her performances of late have reflected her mood. She is in such a funk, that she no longer wants to perform (It should be noted that this is the movie in which Garbo speaks her most famous line, “I want to be alone”). The Baron is a smooth operator, an easygoing gentleman who also happens to be a thief with a heart of gold, as well as a chaser of anything in a skirt. Flaemmchen is a stenographer and sometimes model called to the Grand Hotel to take dictation for Preysing, a business magnate with a solid reputation. Kringelein used to work for Preysing as a bookkeeper until he fell ill, so he decided to spend his final days in the lap of luxury, regardless the cost. The good doctor is a local who frequents the hotel and observes the goings-on. Finally, poor Senf the Porter, forced to work while his wife is in (very protracted) labor, cannot break free from his duties out of fear he’ll lose his job.

Baron von Gaigern, Otto Kringelein, and Dr. Otternschlag (John Barrymore, Lionel Barrymore, Lewis Stone) at the baccarat table

Now that you know how everything starts, let me just say that Grand Hotel is an absolute delight to watch. I will caution that there are parts of this movie which belie its age, but in the grand scheme of things, it still shines as one of the best motion picture of the early years of the Academy Awards. Joan Crawford had already been a veteran in motion pictures by the time of Grand Hotel, but her role as the stenographer is among the first of her many meaty roles during her acting career.

Meanwhile, there was much ballyhoo about the pairing of John Barrymore and Greta Garbo, so much that the normally (and notoriously) reclusive Garbo actually allowed backstage publicity photos of her with him. This unique union of The Face and The Great Profile proves to be one of the many captivating storylines in this movie. Finally, John Barrymore’s brother, Lionel, has a memorable scene when Kringelein confronts his boss, Preysing (Beery), at the hotel’s lounge and tells him how much of a slave driver he really is.

For a place where “nothing ever happens”, a lot seems to be going on at the Grand Hotel. It is a story of star-crossed lovers, of unscrupulous businessmen, of happiness and tears, and (most important) a story that follows the Latin expression “Carpe diem” (Seize the day). It is a story of love discovered and of fortunes lost, and at the end of the movie, another busload of weary travelers step off the bus for their stay at the most famous hotel in Berlin.

The special features on the DVD include footage of the premiere of Grand Hotel at Grauman’s Chinese Theatre, trailers for the movie (including a “Time is running out” trailer made for the Chinese Theatre), and a short from Warner Bros. called “Nothing Ever Happens”, a spoof of the movie. There is also a trailer for a remake released by MGM in 1945 called Week-end at the Waldorf, starring Van Johnson, Lana Turner, Walter Pidgeon, and Ginger Rogers (As of this writing, it is not available from Netflix; I will review it if and when it is released).

If there is a drawback to Grand Hotel, it’s that the character names are among the most difficult to remember, let alone pronounce. And, as I said earlier, there are a few areas which show the film’s age, but it isn’t such a bad thing because I feel it enhances the movie’s charm. In 1932, the term “ensemble cast” was a practically unknown term, but Grand Hotel showed the world that seven of Hollywood’s biggest stars of the day can indeed work together and create a masterpiece. And that masterpiece is set at the Grand Hotel, where people come, people go, and nothing ever happens…

4 (out of 5)