By Lauren Wren
Need some classic film recommendations for the new year? Cinemaroll has got you covered.
Sunrise: A Song of Two Humans (dir. F. W. Murnau, 1927)
Other than the fact that the character of The Man (George O’Brien) is outrageously violent, Sunrise contains levels of beauty I had never before witnessed in film. The plot is The Man grows bored of his wife (Janet Gaynor) and their life and falls for a city girl (Margaret Livingston) who encourages him to murder his wife so the pair can run away to the city. When I first saw this, I did not know Sunrise was considered one of the greatest films ever made. F. W. Murnau directed The Last Laugh (1924), which I’m positive we’ve all watched for a film class at some point. Murnau made this film after he emigrated to Hollywood in 1926 and signed onto Fox Studio (now 20th Century Fox). The film is full of cinematic innovations and features synchronized sound. Murnau tied his Expressionist roots with Hollywood in the movie, resulting in this masterpiece. (Spoiler Alert: I do not think The Woman should’ve gone back to The Man in the end after he attempted to drown her and has shown an insane level of physical abuse, but what do I know?)
Design for Living (dir. Ernst Lubitsch, 1933)
This film is the original Challengers. The delight of pre-Code Hollywood is everywhere in this romantic comedy. I’ll summarize it, but you should watch it and enjoy the craziness and the scandal. Gilda (Miriam Hopkins) moves in with two men (Gary Cooper, Frederic March) who fall in love with her. Gilda can’t pick between the two men, so what does she do? Continue to live and sleep with them both! Gilda girl bosses the entire film and has complete control over her sexuality. The film is based on the successful play Design for Living (1932) by Noël Coward. This film is hysterical, and the chemistry between the trio is immaculate. It’s fantastic to see three Hollywood legends in a “throuple.” No, it’s not an Academy Award winner, but it’s an absolute riot that everyone should watch.
Bringing Up Baby (dir. Howard Hawks, 1938)
I watched this film years ago and haven’t stopped loving it since. This screwball comedy follows the characters Dr. David Huxley (Cary Grant) and Susan Vance (Katharine Hepburn) as they end up possessing a leopard and encountering all types of chaos. Hepburn, the queen of dramatic roles, achieves comedic gold as the wealthy, klutzy socialite Susan Vance. Grant is constantly spot-on with his hilarious characters; this film is no exception. Hepburn and Grant previously did Sylvia Scarlett (1935) together, another comedy, and would go on to make Holiday (1938) and The Philadelphia Story (1940). While I strongly recommend all of Hepburn and Grant’s collaborations, I chose this one because of its absurdity and charm. Plus, Howard Hawks makes great comedies, like His Girl Friday (1940) and Ball of Fire (1941), though I do believe this is the finest one. There’s something so enjoyable about watching rich people and their silly problems, especially when they are as outlandish as transporting a leopard to Connecticut. Bringing Up Baby is a comfort movie, if there ever was one. After watching this, you’ll be thinking about Hepburn’s transatlantic accent and singing “I Can’t Give You Anything but Love, Baby” the rest of the day.
The Strawberry Blonde (dir. Raoul Walsh, 1941)
I saw this film for the first time on the big screen, and it was the most magical experience. James Cagney plays Biff Grimes, an aspiring dentist in love with a strawberry blonde named Virginia (Rita Hayworth). Biff and his best friend Hugo (Jack Carson) organize a double date with the gorgeous Virginia and her best friend Amy (Olivia de Havilland), a stubborn, independent nurse. With both men showing a disinterest toward Amy, their eyes set upon Virginia. When Hugo marries Virginia and gets Biff involved in his shady business, Biff reflects upon his life and how it’s turned out. Olivia de Havilland is the absolute force that is the reason for the de Havilland law and dozens of show-stopping performances, like in The Heiress (1949). While this film is before her more dramatic roles, she’s terrific as Amy. James Cagney is charismatic and charming, enchanting the audience with each line delivery. The music draws you in with classic tunes from the 1910s, and in the end credits, there’s a sing-along! It’s an absolute delight from start to finish.
The Ox-Bow Incident (dir. William A. Wellman, 1943)
The Ox-Bow Incident is an example of one of the first psychological Westerns. When news arrives that a rancher has been killed and his cattle stolen, the townspeople and two cowboys (Henry Fonda, Henry Morgan) are determined to catch the criminals and deliver justice. I’m keeping this one short because watching it is much more effective.
Gaslight (dir. George Cukor, 1944)
Learn the origins of gaslighting! Patrick Hamilton’s play Gas Light (1938) is the source material for Gaslight, and there was a 1940 British adaptation as well. Paula (Ingrid Bergman) is a subject of psychological manipulation, and her husband Gregory (Charles Boyer) tricks her into believing she’s insane. With a murder, missing jewels, and dimming gas lights, this film will have you on the edge of your seat in anticipation. The story brings to light this patriarchal system where women are figures of delusion, and their feelings aren’t valid. At the same time, men are the dominant figures and are capable of twisting the truth. Director George Cukor, known for focusing on the characters’ complexities, places a spotlight on the two leading stars. Bergman and Boyer give incredible performances, with Bergman winning her first Academy Award for Best Actress. Bergman, to me, is the best part of this film. Her ability to go from being a perfect wife to a woman in hysterics amazes me. Gregory and Paula’s final confrontation is film perfection. The mise-en-scène in the film contributes to the dark themes and reflects Paula’s inner turmoil and confinement. If I wanted to touch on every detail about this movie, it’d be an entire paper, so I’ll refrain. Just watch this film!
The Quiet Man (dir. John Ford, 1952)
I know John Wayne has questionable morals, but I love this movie. It’s one of the greatest Hollywood trios back at it again: John Wayne and Maureen O’Hara, directed by John Ford in a film that’s not a Western. Wayne plays Sean Thornton, an American, as he returns to the town of his birth in Ireland, where he falls for Mary Kate Danaher (Maureen O’Hara) and finds trouble with Mary Kate’s brother (Victor McLaglen). The cinematography, done by Winton Hoch, highlights the beauty of the Irish countryside. The score, composed by Victor Young, pairs perfectly with each picturesque scene. There are outdated scenes, like the woman handing Sean a stick for him to beat his “pretty wife” with. That’s not great! But overall, the film is both riveting and comforting. One second, there will be a fight in a pub; the next, it’s views of pretty green hills. This film makes you long for this quaint Irish life, where even when it downpours, there’s still joy and wonder.
Oklahoma! (dir. Fred Zinneman, 1955)
I had to include a musical, and picking one was tricky. Ultimately, I went with Oklahoma! I’ve loved it since childhood, and something about it has always charmed me. It has the most quintessential love song in musical theatre (“People Will Say We’re in Love”), and yes, that’s a fact. The plot follows Laurey Williams (Shirley Jones) and her rival suitors, the cowboy Curly McLain (Gordon MacRae) and the scary Jud Fry (Rod Steiger). There’s another plot with Laurey’s friend Ado Annie (Gloria Grahame), cowboy Will Parker (Gene Nelson), and a salesman (Eddie Albert).
To summarize, there are two love triangles in the Oklahoma territory, and everyone sings and dances. Like nearly all the other films on this list, there’s some questionable content. Ado Annie likes being romantic with more than one man at a time, and (Spoiler Alert!) is shut down by the film’s end, though Will can partake in polyamory. Curly sings an entire song to Jud about how Jud should kill himself so that Curly can take Laurey to the dance. There’s also a long and tedious dance scene that doesn’t even have Shirley Jones or Gordon MacRae dancing, which I always thought was strange whenever I watched it. Though the film is undeniably spectacular, Charlotte Greenwood steals the show as the feisty and opinionated Aunt Eller. She has the entire town in the palm of her hand and can shoot a gun! This movie has an excellent soundtrack, performances, set design, and much more.
A Patch of Blue (dir. Guy Green, 1965)
Based on the book Be Ready with Bells and Drums by Elizabeth Kata, A Patch of Blue explores racism and child abuse in America. The film uses the idea that “love is blind,” with Selina D’Arcey (Elizabeth Hartman), a blind white girl, becoming acquainted and falling in love with Gordon Ralfe (Sidney Poitier), an educated black man. While Gordon attempts to better Selina’s life and contacts a school for the blind, Selina’s wicked mother, Rose-Ann (Shelley Winters), has plans to force Selina into prostitution. I’m not saying by any means that this film is perfect at portraying black people; it’s written and directed by white people. It’s a beautiful and oftentimes tragic love story. It’s not solely romantic, as although Gordon and Selina are falling in love, the threat of Selina’s fate is the primary conflict. Sidney Poitier was one of the most talented actors in Hollywood, and while this isn’t a challenging role, he still displays his brilliance. Shelley Winters is almost too perfect at playing this deranged mother. Winters makes the film with her truly vicious portrayal of Rose-Ann, which the Academy recognized her for (she won Best Supporting Actress). A Patch of Blue was Elizabeth Hartman’s first film, and I can’t imagine anyone else playing the pitied yet strong Selina. The choice to have the movie in black and white once again ties back to the issues of racism the film flirts with. If the film wanted to tackle interracial love, it should’ve had a different ending. Though there are flaws, as with any Classic Hollywood film attempting to be progressive, it’s an excellent film that will make you sob if you’re sensitive like me.
How to Steal a Million (dir. William Wyler, 1966)
This film is just so delightful and fun. It’s a heist comedy film starring Audrey Hepburn and Peter O’Toole, an unexpectedly perfect combination. While there are so many Wyler films to recommend, I chose this one because it’s just light-hearted enjoyment. Hepburn plays Nicole, whose father (Hugh Griffith) forges and sells famous artists’ paintings. After discovering one of her father’s forged sculptures would undergo forensic examination, Nicole concocts a plan to steal it. Peter O’Toole is charming as Simon Dermott, who helps Nicole with her plan. As usual, Hepburn has a stunning wardrobe designed by Givenchy, which is all stunning. Hepburn and O’Toole make an excellent duo, and the film is perfect.
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