What I’ll Remember About the Films of 1930: A Love Letter


My What I’ll Remember posts are an ongoing tradition in the Top Ten By Year Project. A logbook of sorts, they pay tribute to all the year-specific viewing I’ve done over the past however many months. It also stresses that, while the Top Ten list is the crux of this whole project, it’s really a means to an end. It goes without saying, but the process and journey of watching and re-watching these films is most important. I’ve recently looked back on previous What I’ll Remember posts and they evoke the feeling of a photo album, flipping through filmic memories of all shapes and sizes. Top Ten By Year: 1930 will be up by the end of the month.

Posts in the What I’ll Remember tag: 1925, 1943, 1958, 1965, 1978, 1992, 2012, 2013, 2014

Top Ten By Year: 1930 Coverage
Top Ten By Year: 1930 – Poll Results 
Movie Poster Highlights: 1930 
100 Images from the Films of 1930 
Favorite Fashion in 1930 Film

1930 aka The Year Garbo Spoke and The Year Lon Chaney Died

The oh-so-brief but oh-so-magical forerunners of the widescreen format, the too ambitious for its time 70mm Fox Grandeur film (The Big Trail, Song o’ My Heartand MAGNAFILM (The Bat Whispers)

As much as anything else, for me 1930 is The Year of Lillian Roth. She is one of my favorite screen presences and esoteric pop culture figures of all time, a gifted comedienne with a crinkly nose and a practiced yet untouched vivacity. Her initial film career only lasted from 1929-1930, and 1933. She only appeared in 13 feature length films across her lifetime. Five of those were in 1930 when she was 20 years old.  They were The Vagabond King, Honey, Paramount on Parade, Madam Satan, Animal Crackers, and Sea Legs.

The bedroom farce that is Madam Satan, the disaster film that is Madam Satan, the awkward musical that is Madam Satan, the outrageous and doomed masquerade party on a zeppelin that is Madam Satan, the rekindled love story that is Madam Satan. In short; Madam Satan

LetUsBeGay11May I Present The Dull As Fuck Leading Man Brigade of 1930: 
Rod la Rocque (Let Us Be Gay), Douglass Montgomery (Paid), Chester Morris (The Divorcee), Clive Brook (Anybody’s Woman), Charles Starrett (Fast and Loose), Gavin Gordon (Romance), Jack Buchanan (Monte Carlo), Ralph Graves (Ladies of Leisure), John Garrick (Just Imagine), Ben Lyon (Hell’s Angels)

Spotting Ann Dvorak, another all-time favorite of mine, as a chorus girl in Free and Easy

Introducing!
(actors in their feature film debut in something more substantial than extra/bit part):
Spencer Tracy (Up the River), James Cagney (Sinners Holiday, The Doorway to Hell), Miriam Hopkins (Fast and Loose), Jean Harlow (Hell’s Angels), Laurence Olivier (The Temporary Widow), Irene Dunne (Leathernecking), Bing Crosby (King of Jazz), Herbert Marshall (Murder!), Una O’Connor (Murder!), Rose Hobart (Liliom), Una Merkel (The Bat Whispers, Abraham Lincoln, etc.)

the big trail 7The American West in The Big Trail 

MGM starlets playing characters named Jerry/Gerry – can we please bring back this trend? (Norma Shearer in The Divorcee, Joan Crawford in Our Blushing Brides)

The sing-song jury meeting scene in Murder!

Failed Bids for Sustained or Successful Hollywood Fame
(mostly musical-based careers, not exhaustive):
Marilyn Miller, Lawrence Tibbett, Vivienne Segal, John McCormack, Fanny Brice, Dennis King, Winnie Lightner, Paul Gregory, Zelma O’Neal, Helen Kane, Betty Boyd, Bernice Clare, Sharon Lynn, Jeanette Loff, Alice White, James Hall, The Sisters G, Ona Munson (later character actress), Claudia Dell, Charlotte Greenwood, Norma Terris, Ethelind Terry

The sequence in Follow Thru when Jack Haley and Eugene Pallette sneak into the girls locker room to steal a ring. They come up with hand signals. They pretend to be plumbers. The girls are in various stages of undress. It all builds to a moment of perfect anarchy

The Rise Of:
Marlene Dietrich, Robert Montgomery, Marie Dressler, Wallace Beery, William Powell, Barbara Stanwyck, John Wayne, Kay Francis, Helen Twelvetrees, Ann Harding, Jean Harlow

Two-Strip Technicolor! (Follow Thru, King of Jazz, portion of Hell’s Angels)

The sheer existence of King of Jazz, the most elaborate and audaciously overproduced spectacle film I’ve ever seen from the Golden Age of Hollywood

HellsAngels11

hell's angels
The privilege of seeing Jean Harlow in color and with natural eyebrows (Hell’s Angels). Also realizing that tomboy Jean Harlow is the most attractive Jean Harlow

The last year before the modern movie genre begins to get in formation, allowing for a final round of bizarre and unrepeatable genre hybrids (Madam Satan, Liliom, The Bat Whispers, King of Jazz, Just Imagine)

Knowingly playing with artificiality (Murder!, Liliom, The Blue Angel)

The unintentional meta symbolism of Louise Brooks’s onscreen death in Prix de Beauté

the big trail 3The eye candy that is John Wayne in The Big Trail 

Movies Interacting with Other Movies:
Joan Crawford in MGM’s Paid going to see MGM’s Let Us Be Gay in the theater, Fast and Loose playing Follow Thru’s “Peach of a Pear” in the background during a scene, King of Jazz giving a shout-out to Universal’s upcoming All Quiet on the Western Front

♫♫”Look out, look out the dumb police are on your trail”♫♫ (Liliom)

♫♫ We’re going somewhere
We’re going nowhere
We’re going everyyyyywhere ♫♫
(Madam Satan)

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Meta Moments:
(Murder!, Die drei von der Tankstelle, The Bat Whispers, Free and Easy)

Alfred Hitchcock using Murder! as a platform to blatantly experiment with sound from all conceivable angles

Jean Grémillon using La petite Lise as a platform to inconspicuously experiment with integrating sound as tapestry

Loaded glaring and ample cowardice in The Big House 

Howard Hawks using sound in The Dawn Patrol as a platform for more natural dialogue and an immersion into the communal and isolated male experience of wartime

Realizing I’d much rather see an all-male story over a film that clearly wants to be an all-male story but throws a woman in the mix that it has zero time or respect for
(The Dawn Patrol and All Quiet on the Western Front vs. Hell’s Angels and The Big House

scary
Scary Images of 1930 Cinema:
Chester Morris’s shadowy confrontational glare (The Bat Whispers), Paul Whiteman as a winking moon (King of Jazz), Jack Haley’s spastic eyebrows (Follow Thru), the creepy man-baby (King of Jazz), Emil Jannings: The Humiliated Clown (The Blue Angel), Buster Keaton: The Humiliated Clown (Free and Easy)

Electric fans as plot point! (Anybody’s Woman)

My first wholly depressing experience with Buster Keaton’s trademark bassoon baboon talkie moron in Free and Easy. The humiliations endured by Keaton here are a special level of cruel, not to mention that he’s forced to act in an MGM film within an MGM film

Learning to appreciate Chester Morris when his characters operate outside the confines of the typical romantic lead (The Bat Whispers, The Big House as opposed to The Divorcee)

People on Sunday 2
The four central day-trippers in People on Sunday are great and all but I’m all about Annie (Annie Schreyer), the beautiful lazy loafer who sleeps all weekend

The Dawn Patrol > All Quiet on the Western Front > Hell’s Angels 

Finding eroticism and profundity in rain and simple gestures (Ladies of Leisure)

American sound films that feel refreshingly free from the pressures of plot
(Laughter, The Dawn Patrol, King of Jazz, Animal Crackers)

Ahh Golden Dawn, a movie with bottomless racism and a song (“A Tiger”) that features a woman singing about explicitly wanting a man to straight-up beat her

Getting to watch one of my favorite men, Robert Montgomery, in his early career mode of sexy cad (Our Blushing Brides, The Divorcee, Free and Easy)

That damn car horn in Die drei von der Tankstelle 

One of my favorite niche genres in film: Department Store Gals (Our Blushing Brides, Au bonheur des dames)

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That kiss in Morocco

The unforgettable schizophrenic feeling of Borderline 

Uncle hits a breaking point in one of the most unsettling and feverish sequences in silent cinema (Au bonheur des dames)

The Fall Of:
(once major stars declining in popularity or quality of work, either momentarily or permanently)
Clara Bow, John Gilbert, Al Jolson, Corrine Griffith, Norma Talmadge, Charles Farrell, Mary Pickford, Dolores Costello, Buster Keaton, Douglas Fairbanks

the dawn patrol 8Douglas Fairbanks Jr’s adorably playful drunken interaction with the German officer who shot him down in The Dawn Patrol 

The way Kent (Robert Montgomery) is used to subvert audience expectations in The Big House

The radical modernity and spontaneity of Barbara Stanwyck’s performance in Ladies of Leisure

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Herbert Marshall looking like a straight-laced Jack Lemmon in Murder!

Everywhere, Everywhere, Miniatures Everywhere:
(including but not limited to Ladies of Leisure, Liliom, Madam Satan, Murder!, The Bat Whispers, Under the Roofs of Paris, Outward Bound)

Haunting child deaths (L’age d’Or, The Doorway to Hell, Blood of a Poet)

Doorway to Hell 6My favorite moment in The Doorway to Hell: Doris (Dorothy Mathews) is talking on the phone to Mileaway (James Cagney) about how lame Louie (Lew Ayres) has become now that he’s removed himself from gangster life. Then Louie comes in wearing the above outfit and says “I’m a fine golfer”

The rigorous tailoring of Marlene Dietrich’s image is born in the short time between filming The Blue Angel and Morocco (though American audiences saw Morocco first)

Marjorie Rambeau playing a kindly pitiful drunk (Her Man) and a wretched pitiful drunk (Min and Bill)

Hells_Angels107
Watching the incredible aerial footage of Hell’s Angels knowing that several pilots died because of Howard Hughes’s unstoppable ambition

The tiresome trend of introducing unrelated low comedy subplots to lighten things up (Min and Bill, The Big Trail, Her Man, Golden Dawn)

The formal rule-breaking of the prison sequence in La Petite Lise

Running through the wheat fields in City Girl

Tale of the Fox (2)
The staggering stop-motion animation of Le Roman de Renard (The Tale of the Fox). Figures, flow, range of expression. Like watching Fantastic Mr. Fox eighty years before the fact

The Claire Denis-esque way that Tilly Losch’s dance and body movements are shot in the short Dance of the Hands 

Great Character Names:
Tripod McMasters (Wallace Beery; Way for a Sailor) Mrs. Bouccy Bouccicault (Marie Dressler; Let Us Be Gay), Amy Jolly (Marlene Dietrich; Morocco), Mileaway (James Cagney; The Doorway to Hell) Pansy Gray (Ruth Chatterton; Anybody’s Woman), Arabella Rittenhouse (Lillian Roth; Animal Crackers), Dulcinea Parker (Marion Davies; Not So Dumb) Countess Olga Balakireff (Kay Francis; A Notorious Affair), Lem Tustine (Charles Farrell; City Girl)

Being hypnotized by the close-up movement of gears in the avant-garde short Mechanical Principles 

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Esme Percy’s ‘half-caste’ homosexual drag performer killer in Murder!

The messy but unshakable loyal friendship between Morgan and Butch (Chester Morris and Wallace Beery) in The Big House

Wanting to live in the proto-French New Wave romantic bloom of People on Sunday and its immaculate footage of 1930 Berlin

three good friends 3

The angle of this shot, which takes place during a song, should give you a sense of how sophisticated and ahead of its time Die drei von der Tankstelle is within the context of ‘1930 musical’

Mops/Mopsi; Lilian Harvey’s nickname for her father in Die drei von der Tankstelle

Jean Cocteau’s trademark surrealist special effects, showing us a portal to another world and a statue that clings to its maker in Blood of a Poet 

Being reminded that The Blue Angel disturbs me more than most films

norma9Norma Shearer going full dowdy (Let Us Be Gay)

The bleak ending of Street of Chance, with an unseen level of implied violence that makes way for the much more famous ending of 1931’s The Public Enemy 

Films with a leftover from silents; intertitles
(including Anybody’s Woman, The Big Trail, Liliom, Follow Thru, A Notorious Affair, Not So Dumb)

A Notorious Affair 2Kay Francis giving interior life to her intoxicating Countess vamp in one of the worst films I’ve ever seen (A Notorious Affair). Her work, and the above image, deserve so much better

Sound films that don’t capitalize on dialogue, instead using sound as an extension of silent film (Prix de beaute, L’age d’Or, La petite Lise, The Blue Angel, Blood of a Poet. Basically; the non-American films)

The confirmation that I don’t much care for the two most canonized films of 1930, L’age d’Or and The Blue Angel

nutshellThe Nutshell Pictures Corporation logo, which features an animated dog pissing into a plant (Dance of Her Hands)

Busby Berkeley choreography appears on film for the first time ever in Whoopee!

Discovering the sassy greatness that is Marie Prevost. Once a leading lady, by 1930 (because of weight gain and alcohol abuse) she was relegated to the goofy “best friend” roles which she used to steal every film she appeared in (Paid, Ladies of Leisure, War Nurse

Only in an MGM film would a character have an art deco loft hidden in a tree (Our Blushing Brides)

Josef von Sternberg’s trademark absolute submission to love and desire in The Blue Angel and Morocco. The former filled with despair, the latter with triumph and a dash of hope.

Speaking of, the incredible final scene and shot of Morocco. The radical act of linking up with a group of women following their men into the desert and the unknown

Rooting with all my heart for Lem and Kate (Charles Farrell and Mary Duncan) in City Girl 

Doorway to Hell 51930’s James Cagney is as sexy as sexy gets in case you needed to be reminded (The Doorway to Hell)

Frances Marion dominating the early world of talkie screenwriting with credits for Min and Bill, Anna Christie (adapted by), The Rogue Song, Let Us Be Gay (continuity and dialogue), Good News (scenario), and for being the first woman to win a non-acting Oscar for her work on The Big House.

The use of interior space in Laughter

monte carlo 10Jeanette MacDonald going bonkers and rustling up her precious hair in Monte Carlo

Favorite Characters: Kate (Mary Duncan; City Girl), Douglas Scott (Douglas Fairbanks Jr.; The Dawn Patrol), Lola Lola (Marlene Dietrich; The Blue Angel), Annie (Annie Schreyer; People on Sunday), Paul Lockridge (Fredric March; Laughter), Countess Olga Balakireff (Kay Francis; A Notorious Affair), Trixie (Lillian Roth; Madam Satan), Jimmy Wade (Roland Young; Madam Satan), Dot Lamar (Marie Prevost; Ladies of Leisure)

Least Favorite Characters: Jack Martin (Jack Haley; Follow Thru), Professor Emmanuel Rath (Emil Jannings; The Blue Angel), Andre (Georges Charlia; Prix de beaute), Mr. Tustine (David Torrence; City Girl), Paul Gherardi (Basil Rathbone; A Notorious Affair), everyone in Golden Dawn, Count Rudolph Falliere (Jack Buchanan; Monte Carlo)

Laughter 11Fredric March suddenly kissing Nancy Carroll behind the neck while driving in Laughter, one of the sexiest gestures ever committed to film

The sketchy but catchy “Trimmin’ the Women” song in Monte Carlo 

Proto-screwball comedies (Not So Dumb, Fast and Loose)

The mock-up symbolic hallucinatory carnival in Liliom

The most unintentionally hilarious bit from any 1930 film (Golden Dawn)

The forgotten and incomprehensible mega-fame of El Brendel (Just Imagine, The Big Trail, Her Golden Calf, New Movietone Follies of 1930).

Orgasm from hair treatment in Monte Carlo  

Based on a Play (Paid, Romance, Fast and Loose, The Bat Whispers, Liliom, Ladies of Leisure, Follow Thru, Murder!, A Notorious Affair, Animal Crackers, Her Man (well, kind of), Not So Dumb, Let Us Be Gay, Outward Bound)

paid 4The revelation that Joan Crawford is, at least in Paid, a dead ringer for Sigourney Weaver

The onscreen persona of Wallace Beery amounts to a real-life Baloo the Bear (The Big House, Way for a Sailor, Min and Bill). He manages the impossible by remaining lovable even when talking about his murder rap or domestic abuse. A rare gift that.

 The distinct hilarity Miriam Hopkins wrings out of “I’m sorry” is the epitome of what makes her so great (Fast and Loose)

♫♫ She wanted to take it further
So she arranged a place to go
To see if he
Would fall for her incognito  ♫♫
(Madam Satan & “Babooshka” by Kate Bush)

The wholesome sex comedy is born with Follow Thru 

Marie Dressler beating the piss out of Wallace Beery and tearing apart his room in Min and Bill 

Laughter 16Fredric March casually drinking coffee in a polar bearskin rug in Laughter 

The wordless sequence in which Jerry (Norma Shearer) allows herself to be illicitly seduced by playboy Don (Robert Montgomery) in The Divorcee

The names of the party guests in Madam Satan (Miss Conning Tower! Mr. and Mrs. Hot & Tot! Mr. & Mrs. High Hat! Miss Victory! Miss Movie Fan! Fish Girl!)

The “I Want to Be Bad” number in Follow Thru

QUOTES:

“I’ve balanced our accounts”
(Norma Shearer in The Divorcee, talking to her husband about her promiscuity)

“I know now how a man feels about these things”
(Norma Shearer in Let Us Be Gay, talking to her husband about her promiscuity)

“It’s that coin that makes them so sassy Cassidy”
(Paid)

“I’m an orchid and he wants to change me into a lily” (Barbara Stanwyck in Ladies of Leisure)

“I never knew you had pale blue eyes. I hate pale blue eyes. Funny, I never noticed it before” (Kay Francis in A Notorious Affair)

Ted: “Who’s the man?”
Jerry: “Oh, Ted, don’t be conventional!”
(Chester Morris and Norma Shearer in The Divorcee)

“The memory of you makes them much happier than you ever could”
(The Magistrate in Liliom)

“What are you doing with those fingers?”
“Nothing. Yet.”
(Marlene Dietrich and Gary Cooper in Morocco)

“Wise as a tree full of owls, that’s me”
(Paid)

“Oh, and a cup of coffee”
“Large or small?”
“Do I look like a small cup of coffee?”
(Marie Prevost and a waiter in Ladies of Leisure)

“Well, do you see my flowers here?”
“You’re crushing them”
“Oh, what does it matter? They were born to die”
(yes, this is actual dialogue in Romance)

“Oh baby. Don’t think I’m such a heel just because I am!” (John Gilbert in Way for a Sailor)

Groucho: “Go away. Go away. I’ll be all right in a minute. Left-handed moths ate the painting, eh?”
Chico: “Yeah, it’s a-my own solution.”
Groucho: “I wish you were in it. Left-handed moths ate the painting. You know, I’d buy you a parachute if I thought it wouldn’t open.” (Animal Crackers)

“Press the flesh. Who’d you croak?” (The Big House)

“If you don’t watch your step you’re gonna find a way to treat yourself to a handful of clouds” (The Doorway to Hell)

“When a man begins to talk about inhibitions, it’s time to look at the view.” (Joan Crawford in Our Blushing Brides)

“It already has proved dangerous to wipe yourself off on the furniture”
(Blood of a Poet)

Groucho’s Strange Interlude bit in Animal Crackers, particularly:
“This would be a better world for children, if the parents had to eat the spinach.”

“Oh Mary, don’t be so 1890”
(Paid)

“When does she dunk her body?” (of course this is Eugene Pallette’s way of asking when a woman takes a bath in Follow Thru)

“Four years ago you took my name and replaced with with a number. Now I’ve taken that number and replaced it with your name”
(Joan Crawford in Paid)

Angela: “Here’s the newspaper”
Bob: “Anything new?”
Angela: “Not much. Only that you’re a bigamist” (Madam Satan)

animalMargaret Dumont and Lillian Roth in Animal Crackers (I forget whose tumblr this comes from; I’m very sorry!)

 

 

 

Favorite Fashion in 1930 Film


I’ve gathered together some of my favorite costumes from the films of 1930. These were originally in my upcoming What I’ll Remember post, but I realized they deserve to be properly appreciated on their own.

Top Ten By Year: 1930 posts:
Top Ten By Year: 1930 – Poll Results 
Movie Poster Highlights: 1930 
100 Images from the Films of 1930 

FAVORITE FASHION OF 1930:

Marlene-Dietrich-Morocco_LG
Marlene’s iconic tux in Morocco (designer: Travis Banton)

the-divorcee-pajama-suitEverything Norma Shearer wears in The Divorcee (designer: Adrian)

Costume-wild-Evelyn-Brent_-Slightly-Scarlet_gray-shades_001Evelyn Brent in Slightly Scarlett (haven’t seen film) (designer: Travis Banton)

Costume-wild-Madam-Satan-1Kay Johnson’s Madam Satan look (designer: Adrian)

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Golf girl chic in Follow Thru (designer: Travis Banton)

stanley-smith-jeanette-loff-bridesmaids-in-king-of-jazz-1
The spectacle of the world’s largest bridal veil in
King of Jazz (designer: Herman Rosse)

Just Imagine 11This insane number from Queen LooLoo of Mars in Just Imagine (designers: Alice O’Neill, Dolly Tree)

madam satan 66Costume party realness in Madam Satan (designer: Adrian)

tumblr_nqyzuyaCuA1s3mivlo1_500

lillianMy favorite costume from Madam Satan; Lillian Roth’s sheer bedazzled lingerie coat (designer: Adrian)

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Greta Garbo’s fur, velvet cape, and hat in Romance (designer: Adrian)

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Jean Arthur’s nightwear (they seem to be pants on the bottom) in Street of Chance (designer: Travis Banton)

madam satan 3Kay Johnson’s draped velvet dress that conveys chic complacency and prudishness at the beginning of Madam Satan (designer: Adrian)

coat
So many exquisite coats in 1930 film!
top row: Anybody’s Woman (not sure about designer), Paid (designer: Adrian?), Hell’s Angels (designer: Howard Greer), Street of Chance (designer: Travis Banton)
bottom row: Fast and Loose (designer: Travis Banton), Monte Carlo (designer: Travis Banton), Prix de beaute (designer: Jean Patou)

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A special shout-out to Robert Montgomery’s coat in Our Blushing Brides, because it’s the only piece of menswear I have here (Adrian is credited with the gowns so I’m not sure about who designed this coat) 

blushingThe fabulous and endless amount of fashion in Our Blushing Brides, complete with mid-film fashion show! (designer: Adrian)

 

 

100 Images from the Films of 1930


Full disclosure: there are more than 100 images here. But 100 Images from the Films of 1930 sounds better than 105 images from the Films of 1930, doesn’t it? Well, I’ve finally come to the end of the 1930 Watchlist. It feels good, but it also right on time. Momentum plummeted towards the end, so it was a snail’s pace cross over the finish line.

Over the next two weeks I will be rounding out my 1930 coverage. Posts will consist of, in addition to this, the What I’ll Remember post and the Top Ten which will include write-ups on the films and the year in general. Previous 1930 coverage can be found here:
Top Ten By Year: 1930 Poll Results
Movie Poster Highlights: 1930 

What follows is a visual celebration of 1930. While viewing over fifty 1930 films in the past six months, I gradually collected screenshots of images that jumped out as something I wanted to capture and cherish for the future. For this post I chose personal favorites from that sizable collection. The images are arrange purposefully. I tried to group together shots that had something visually in common, whether it be content or blocking. I hope you enjoy them. I started doing this with 1978. You can find a sampling of my favorite shots from that year in my What I’ll Remember post. But it was 1925 where this aspect of the Top Ten By Year Project really took off. You can find that here. I promise you won’t regret it; there are so many incredible images from 1925. The same goes for 1930, or at least, I hope you agree.

What are some of your favorite shots or images from 1930 film? 

Prix de beauté (director: A. Genina/cinematographer: Rudolph Maté, Louis NéePrix de beauté (director: A. Genina/cinematographer: Rudolph Maté, Louis Née)

liliom 7Liliom (director: Frank Borzage/cinematographer: Chester Lyons)

The Doorway to Hell (director: Archie Mayo/cinematographer: Barney McGill) The Doorway to Hell (director: Archie Mayo/cinematographer: Barney McGill)

The Blue Angel (director: Josef von Sternberg/cinematographer: Günther Rittau)The Blue Angel (director: Josef von Sternberg/cinematographer: Günther Rittau)

For the Defense (director: John Cromwell/cinematographer: Charles Lang) For the Defense (director: John Cromwell/cinematographer: Charles Lang)

City Girl 13City Girl (director: F.W. Murnau/cinematographer: Ernest Palmer)

The Dawn Patrol (director: Howard Hawks/cinematographer: Ernest Haller) The Dawn Patrol (director: Howard Hawks/cinematographer: Ernest Haller)

City Girl 2City Girl (director: F.W. Murnau/cinematographer: Ernest Palmer)

Blood of a PoietBlood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

way 2Way for a Sailor (director: Sam Wood/cinematographer: Percy Hilburn)

People on Sunday 14Menschen am Sonntag (People on Sunday) (directors: Siodmak, Ulmer, etc/cinematographer: Eugen Schüfftan)
The Dawn pateolThe Dawn Patrol (director: Howard Hawks/cinematographer: Ernest Haller)

liliom 5Liliom (director: Frank Borzage/cinematographer: Chester Lyons)

CeWCkXrUIAEnNZCBorderline (director/cinematographer: Kenneth MacPherson)

citygirlCity Girl (director: F.W. Murnau/cinematographer: Ernest Palmer)

Morocco 10Morocco (director: Josef von Sternberg/cinematographer: Lee Garmes/Lucien Ballard)

Aimless WalkAimless Walk (short) (director: Alexander Hammid)

big trail 9The Big Trail (director: Raoul Walsh/cinematographer: Arthur Edeson)

the big trail 7The Big Trail (director: Raoul Walsh/cinematographer: Arthur Edeson)

the big trail 6The Big Trail (director: Raoul Walsh/cinematographer: Arthur Edeson)

Just Imagine 10Just Imagine (director: David Butler/cinematographer: Ernest Palmer)

clocksMadam Satan (director: Cecil B. DeMille/cinematographer: Harold Rosson)

madamsatan3Madam Satan (director: Cecil B. DeMille/cinematographer: Harold Rosson)

follow thru 9Follow Thru (directors: Lloyd Corrigan, Laurence Schwab/cinematographer: Charles P. Boyle)

bridal veilKing of Jazz (director: John Murray Anderson/cinematographer: Jerome Ash, Hal Mohr, Ray Rennahan)

au bonheur 3Au bonheur des dames (director: Julien Duvivier/cinematographers: Andre Dantan, Rene Guichard, Emile Pierre, Armand Thirard)

king of jazz 4King of Jazz (director: John Murray Anderson/cinematographer: Jerome Ash, Hal Mohr, Ray Rennahan)

king of jazz 8King of Jazz (director: John Murray Anderson/cinematographer: Jerome Ash, Hal Mohr, Ray Rennahan)

Au Bonheur 9Au bonheur des dames (director: Julien Duvivier/cinematographers: Andre Dantan, Rene Guichard, Emile Pierre, Armand Thirard)

three good friends 9Die Drei von der Tankstelle (director: Wilhelm Theile/cinematographer: Franz Planer)

au bonheur 8Au bonheur des dames (director: Julien Duvivier/cinematographers: Andre Dantan, Rene Guichard, Emile Pierre, Armand Thirard)

CeV8dS6UMAA5oYcBorderline (director/cinematographer: Kenneth MacPherson)

doorway to hell 9The Doorway to Hell (director: Archie Mayo/cinematographer: Barney McGill)

CeWB_62UEAAHaAwBorderline (director/cinematographer: Kenneth MacPherson)

People on Sunday 17Menschen am Sonntag (People on Sunday) (directors: Siodmak, Ulmer, etc/cinematographer: Eugen Schüfftan)

min and bill 2Min and Bill (director: George W. Hill/cinematographer: Harold Wenstrom)

joanPaid (director: Sam Wood/cinematographer: Charles Rosher)

CeWB-3OUkAAvMxpBorderline (director/cinematographer: Kenneth MacPherson)

CeWC80ZVAAETn5xBorderline (director/cinematographer: Kenneth MacPherson)

chesterThe Bat Whispers (director: Roland West/cinematographer: Robert H. Planck)

murder 8Murder! (director: Alfred Hitchcock/cinematographer: Jack E. Cox)

au bonheur 12Au bonheur des dames (director: Julien Duvivier/cinematographers: Andre Dantan, Rene Guichard, Emile Pierre, Armand Thirard)

A Notorious Affair 2A Notorious Affair (director: Lloyd Bacon/cinematographer: Ernest Haller)

Ladies of Leisure 7Ladies of Leisure (director: Frank Capra/cinematographer: Joseph Walker)

la petite lise tLa Petite Lise (director: Jean Grémillon/cinematographer: Jean Bachelet, Rene Colas)

The Dawn Ptrol 2The Dawn Patrol (director: Howard Hawks/cinematographer: Ernest Haller)

morocco 8Morocco (director: Josef von Sternberg/cinematographer: Lee Garmes/Lucien Ballard)

tumblr_n1yclhICk71qjs1omo1_540L’Age d’Or (director: Luis Buñuel/cinematographer: Albert Duverger)

People on Sunday 7Menschen am Sonntag (People on Sunday) (directors: Siodmak, Ulmer, etc/cinematographer: Eugen Schüfftan)

the big house 6The Big House (director: George W. Hill/cinematographer: Harold Wenstrom)

bloof pwBlood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

The Big House 3The Big House (director: George W. Hill/cinematographer: Harold Wenstrom)

Au bonheur5 55Au bonheur des dames (director: Julien Duvivier/cinematographers: Andre Dantan, Rene Guichard, Emile Pierre, Armand Thirard)

blood of a poet 7Blood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

Hell's Angels 4Hell’s Angels (director: Howard Hughes/cinematographer: Elmer Dyer, etc, etc)

HellsAngels11Hell’s Angels (director: Howard Hughes/cinematographer: Elmer Dyer, etc, etc)

the big trail 3The Big Trail (director: Raoul Walsh/cinematographer: Arthur Edeson)

liliom 2Liliom (director: Frank Borzage/cinematographer: Chester Lyons)

People on Sunday 6Menschen am Sonntag (People on Sunday) (directors: Siodmak, Ulmer, etc/cinematographer: Eugen Schüfftan)

tumblr_ny80z5zTyp1ufel7co1_540Menschen am Sonntag (People on Sunday) (directors: Siodmak, Ulmer, etc/cinematographer: Eugen Schüfftan)

tilly losch 3Dance of the Hands (short) (director: Norman Bel Geddes)

Blood of a Poet 6Blood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

blood 3Blood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

Blood of a Poet 4Blood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

tumblr_ls1w43jioY1qzzxybo1_500Dance of the Hands (short) (director: Norman Bel Geddes)

street of chance 2Street of Chance (director: John Cromwell/cinematographer: Charles Lang)

morocco vMorocco (director: Josef von Sternberg/cinematographer: Lee Garmes/Lucien Ballard)

Our Blushing Brides 17Our Blushing Brides (director: Harry Beaumont/cinematographer: Merritt B. Gerstad)

the-divorcee
The Divorcee (director; Robert Z. Leonard/cinematographer: Norbert Brodine)

tumblr_nkqvfjrN7q1rgxncdo5_1280The Blue Angel (director: Josef von Sternberg/cinematographer: Günther Rittau)

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Au bonheur des dames (director: Julien Duvivier/cinematographers: Andre Dantan, Rene Guichard, Emile Pierre, Armand Thirard)

three good friends 5Die Drei von der Tankstelle (director: Wilhelm Theile/cinematographer: Franz Planer)

king of jazz 6King of Jazz (director: John Murray Anderson/cinematographer: Jerome Ash, Hal Mohr, Ray Rennahan)

king of jazz 10
King of Jazz (director: John Murray Anderson/cinematographer: Jerome Ash, Hal Mohr, Ray Rennahan)

Blood of a pioet 6Blood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

blood 9Blood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

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Borderline (director/cinematographer: Kenneth MacPherson)

Laughter 17Laughter (director: Harry d’Abbadie d’Arrast/cinematographer: George J. Folsey)

feet first 2
Feet First (director: Clyde Bruckman, Harold Lloyd/cinematographer: Henry N. Kohler, Walter Lundin)

tumblr_mzxdv0cjxI1raq0fho1_540
L’Age d’Or (director: Luis Buñuel/cinematographer: Albert Duverger)

tumblr_mh3510SpEi1qzxrh2o1_540
L’Age d’Or (director: Luis Buñuel/cinematographer: Albert Duverger)

Blood of a Poet 2Blood of a Poet (director: Jean Cocteau/cinematographer: Georges Périnal)

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Borderline (director/cinematographer: Kenneth MacPherson)

tumblr_nnoz56h31a1sdhfypo2_1280The Blue Angel (director: Josef von Sternberg/cinematographer: Günther Rittau)

morocco 6Morocco (director: Josef von Sternberg/cinematographer: Lee Garmes/Lucien Ballard)

Ladies of LeisureLadies of Leisure (director: Frank Capra/cinematographer: Joseph Walker)

HellsAngels2-700x410Hell’s Angels (director: Howard Hughes/cinematographer: Elmer Dyer, etc, etc)

tumblr_nkqvfjrN7q1rgxncdo7_1280The Blue Angel (director: Josef von Sternberg/cinematographer: Günther Rittau)

swing you sinners 3Swing You Sinners! (short) (director: Dave Fleischer)

tale of the fox 4
Le roman de Renard (The Tale of the Fox) (director: Irene Starewicz, Wladyslaw Starewicz/cinematographer: W. Starerwicz)

tale of the fox 3Le roman de Renard (The Tale of the Fox) (director: Irene Starewicz, Wladyslaw Starewicz/cinematographer: W. Starerwicz)

bonheur 22Au bonheur des dames (director: Julien Duvivier/cinematographers: Andre Dantan, Rene Guichard, Emile Pierre, Armand Thirard)

Hell's Angels 3
Hell’s Angels (director: Howard Hughes/cinematographer: Elmer Dyer, etc, etc)

all quietAll Quiet on the Western Front (director: Lewis Milestone/cinematographer: Arthur Edeson, Karl Freund)

tumblr_mq3ikbRCSR1rjtufgo1_540
Prix de beauté (director: A. Genina/cinematographer: Rudolph Maté, Louis Née)

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Prix de beauté (director: A. Genina/cinematographer: Rudolph Maté, Louis Née)

Prix de beaute 2
Prix de beauté (director: A. Genina/cinematographer: Rudolph Maté, Louis Née)

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Prix de beauté (director: A. Genina/cinematographer: Rudolph Maté, Louis Née)

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Prix de beauté (director: A. Genina/cinematographer: Rudolph Maté, Louis Née)

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Prix de beauté (director: A. Genina/cinematographer: Rudolph Maté, Louis Née)

tumblr_m7fifsoV3V1qea3n2o1_540
Menschen am Sonntag (People on Sunday) (directors: Siodmak, Ulmer, etc/cinematographer: Eugen Schüfftan)

madam satan 25Madam Satan (director: Cecil B. DeMille/cinematographer: Harold Rosson)

tumblr_mufj3dWotB1rsc0mvo4_540
Menschen am Sonntag (People on Sunday) (directors: Siodmak, Ulmer, etc/cinematographer: Eugen Schüfftan)

Ladies of Leisure 5Ladies of Leisure (director: Frank Capra/cinematographer: Joseph Walker)

Our Blushing Brides 16
Our Blushing Brides (director: Harry Beaumont/cinematographer: Merritt B. Gerstad)

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Just Imagine (director: David Butler/cinematographer: Ernest Palmer)

madam satan 222Madam Satan (director: Cecil B. DeMille/cinematographer: Harold Rosson)

follow thru cocktailsFollow Thru (directors: Lloyd Corrigan, Laurence Schwab/cinematographer: Charles P. Boyle)

follow thru 10Follow Thru (directors: Lloyd Corrigan, Laurence Schwab/cinematographer: Charles P. Boyle)

the big trail 2The Big Trail (director: Raoul Walsh/cinematographer: Arthur Edeson)

Capsule Reviews: 1930 Watchlist (Films #13-16)


Previous 1930 posts:
Capsule Reviews: 1930 Watchlist (Films #1-4): Let Us Be Gay, Ladies of Leisure, Murder!, Anybody’s Woman
Capsule Reviews: 1930 Watchlist (Films #5-8): Liliom, King of Jazz, The Bat Whispers, Paid
Capsule Reviews: 1930 Watchlist (Films #9-12): Follow Thru, Fast and Loose, Romance, The Big Trail 
Top Ten By Year: 1930 – Poll Results
Movie Poster Highlights: 1930 

Monte Carlo 4

Monte Carlo (US / Paramount / Lubitsch)
Ernst Lubitsch is accurately credited as a pioneer of what we’ve come to recognize as the movie musical. 1929’s The Love Parade is often credited as the first narrative musical, and his follow-up, Monte Carlo, continues building on the accomplishments of the former. The first Hollywood musicals were an infamously rushed and immediate fad within the larger game-changing development of sound. For each Sunny Side Up or Rio Rita, there were countless embarrassingly slipshod spawns that quickly grew tedious, not to mention laughable, to the average filmgoer. The motto was More More More of the Same, and Quickly Too, which meant song as performance or non-sequitur, film as empty imitator or lazily transparent retread. The Love Parade and Monte Carlo were anomalous and groundbreaking for helping to establish what we take for granted as vital traits of the musical film; weaving narrative and music together, establishing character and story through song, seamless transitions, creative musical interplay, and sound as omnipresent asset.

Monte Carlo is a fabulous film–if only star Jack Buchanan could be erased from it. The necessity of coping with the early 1930’s Dull-As-Fuck Leading Man give-in is something I’ve rambled about a few times during the 1930 watchlist write-ups thus far. So this might look like a cue-my-hypocrisy moment, but I beg to differ. The DAFLM syndrome applies mainly to films about women, films where the boor is the male romantic lead, but not seen as, critically, a co-lead (examples: Romance, The Divorcee, etc). Thus, these snafus are easy to overlook. But Jack Buchanan is playing what would normally be the Maurice Chevalier part, a part that deems much of the story to him. You expect Chevalier’s sly visage, somehow fumbling and smooth, to be the one masquerading as Jeanette MacDonald’s hairdresser. Instead we get Buchanan, whose presence is one of reedy anti-charm. A light touch is needed for this part, and unfortunately his skeevy lingering suggests that he is, in fact, a serial trench coat flasher in his spare time.

I ran cold on Jeanette MacDonald for years. Her soprano, which isn’t exactly aided by the technology of the time, had long been my initial association with her. But over the past couple of years I’ve come around, big time (at least her Pre-Code work; the latter part of the 30’s seems to wash out her more tangible traits). She has such a glow, such a natural sensuality that you don’t expect (I’m also obsessed with her hair). It’s also impossible to ignore that Lubitsch seems intent on making sure the audience sees and knows her body. I’d thought her inaccessible to audiences, and to me. She frequently plays royalty, and her characters lean towards the unapologetically spoiled. I associate her Pre-Code work with being surrounded by servants doing every conceivable thing for her. Her characters live in an unreality even within the unreality of the movies. Yet somehow actresses like MacDonald and Miriam Hopkins get away with playing the kinds of shallow characters they so often did. Their careers took off during a precise moment in film history that relished the bratty princess type, and the Lubitsch touch provides the perfect frivolous environment for a MacDonald heroine to thrive. Selfishness has no weight or recourse here; it just adds to the fun.

Monte Carlo is cheeky right from the get-go. We see a wedding. Everyone sings of happiness and sunshine, but the reality is miserable rain and a missing bride. An early song’s lyrics lampoon its singer without him even realizing. Music is put to gestures. Another song, “Trimmin’ the Women” is so sketchy, but so delightful. I’ve only heard it once but it’s in my head as I type this. The songs are short and spiffy, mirroring the film’s overall snappy pacing. Then there’s the meta-finale where Buchanan and MacDonald watch, in suspense, as an uncannily familiar opera unfolds below them. They await their cues, anxious to learn how their own melodrama will conclude. “It’s a silly story, only possible with music”; art wittily interacting with art. Monte Carlo is packed with what we expect of Lubitsch; sophistication, loaded innuendos, Jeanette MacDonald in lingerie, and the temperament of the most divine cream puff ever baked.

“Beyond the Blue Horizon” number showcases innovation (not to mention that the song itself was a huge hit). There’s an introductory segue; shots of trains, blowing whistles, chug chug chug. The sights and sounds of trains are incorporated into the song’s identity. Then we see Jeanette MacDonald’s Countess Helene on the train; singing, daydreaming, and looking out into her unknown future, when suddenly the song expands its reach. The camera looks out into the fields where dots of village people take part in a unison chorus. In Monte Carlo, music reaches farther than a stage and a room. Music goes beyond performance and its immediate characters. This is a new and boundless filmic world, where anyone can be brought into its musicality.

three good friends 13

Die drei von der Tankstelle (aka The Three from the Filling Station or Three Good Friends (Germany / UFA / Thiele)
Though I liked it considerably less (the three men really grated on me), Die drei von der Tankstelle, even more than Monte Carlo, is the truly innovative musical of 1930 (this puts aside the groundbreaking Under the Roofs of Paris, which I’m not re-watching for this project). This film was huge in Germany. The biggest film of the year. Bigger than The Blue Angel even, Germany’s first talking picture. It was also banned by the Nazis in 1937. The self-assured expertise shown by director William Thiele is startling. Rhythms and songs repeat throughout in cyclical fashion. The first minute features montage editing, a declaration that this will not fall in line with the often static storytelling of its time. Another song links two separate spaces together, a feat that 1932’s sublime Love Me Tonight is often credited with. Lilian Harvey’s character has a signature sound, her car horn, announcing her entrances and exits. And at the end it even breaks the fourth wall, with a “Why are they still here?” (the audience) inquiry prompting a last-minute finale.

I’ll focus on the Bailiff’s song to close out this write-up. The film starts with the introduction of the three happy-go-lucky friends (Willy Fritsch, Heinz Rühmann, Oskar Karlweis) returning home after a trip abroad. Immediately upon their return, the Bailiff (Felix Bressart) arrives with some movers to inform the friends of their bankruptcy and to confiscate their belongings. The song takes place in the midst of this. The Bailiff sings, the friends react, the movers take their stuff away; all through music. As I’ve said in other capsule reviews for 1930, this all sounds simple, but for the state of musicals in 1930, this is insightful and forward-thinking stuff. Its got a rare multi-dimensional quality. During the song, the camera is not presentational, but at an angle that focuses inward, not outward. The song is not shot like a performance; it doesn’t feel projected out into the audience, existing for our benefit. How can I explain it? During the song, everybody and everything is interacting with someone or something else onscreen. There’s even miniature flying furniture!

ooooStreet of Chance and For the Defense (US / Paramount / Cromwell)
William Powell and Kay Francis appeared onscreen together six times (I’m not counting Paramount on Parade, since they don’t appear in it together) from 1930-1932. Films #3 & 4, Street of Chance and For the Defense, establish their first complete iteration as co-stars. What I mean is that these are two William Powell films with Kay Francis in important supporting parts (she plays a long-suffering wife and a long-hopeful girlfriend). Their last two films together, Jewel Robbery and One Way Passage, reflect Francis’s 1932 stardom by putting Powell and Francis on equal footing. 1930 was a huge year for Kay Francis. Starting in film just the year before, she was all over screens in 1930, appearing in ten films total. Within these films she moved from second fiddle vamp to flexible female lead. New Movie Magazine’s “1930 Screen Review” singled out Francis as one of the two “Most Promising Feminine Personalities”.

I’m reviewing these together because they are two of a kind, 65-minute films directed by John Cromwell. Both take a while to get going. First, the films environment is too-thoroughly established. Then we’re introduced to Powell’s seemingly all-powerful place within said environment. In Street of Chance he’s a gambler on top. Everyone respects him, trusts him; what he says goes. Without question. His Achilles heel? He desperately wants to keep his brother (Regis Toomey) from falling into the gambling racket. In For the Defense he’s a defense lawyer on top. Not respected by his peers, he uses outlandish means to win cases in the courtroom. His Achilles heel? Kay Francis. In both films, he does something bad to do something good. He makes a sacrifice that leads to his downfall. One ends in death, the other in jail.

These films helped confirm William Powell’s newfound fame in the era of talkies. His delicious quick-rhythmed baritone is exactly the kind of voice that succeeded during sound’s key early days. While many actors fell from grace during 1929-1932, William Powell’s career reached maturation. His voice exudes confidence and ultra-competence. His roles moved from dastardly villainy to men who are a step ahead. Men whose occupations require keen smarts and persuasion. Men who, whether detective, attorney, or gambler, are unmistakably great at what they do. It’s a voice that pulls off the tough combination of seedy altruism needed for both these films.

Of the two I prefer Street of Chance. For one thing it features a young Jean Arthur. It also pulls no punches by the end. The stacking of cards against Powell is delicate and filled with a far more palpable and investing doom. And there’s an unseen level of implied violence that looks ahead to the ending of a much more famous film that would be released just a year later; The Public Enemy.

 

Top Ten By Year: 1930 – Poll Results


Previous Top Ten By Year Polls: 1925, 1958, 1978, 1992

Poll Rule Reminders: Participants could vote for up to 10 films; no more, but certainly less. Order was not required since it had no bearing on the results.)

I’m doing the Poll a bit earlier than I normally do. This is because I’m trying to spread out the Top Ten By Year posts a bit – and the only ones I can do that with without having seen all the films on my watchlist are Poster Highlights and the Poll. Plus, seeing everyone’s votes is also an opportunity for me to make any final additions to my watchlist (I made two based on people’s votes; Outward Bound and Raffles).

First off, thank you so much to everyone who voted! 1930 is such an absorbing year in cinema, and such an overlooked one to boot, so I wasn’t sure how many people would participate. Many of you gave a full top ten, and many others were kind enough to contribute a handful of passionate picks. All in all, 69 people voted for 79 different films!

Taking into account the Internet oversaturation of lists/listicles, I hope it’s clear that this project is anything but tossed off. The Top Ten By Year Project is an effort to reclaim what I love about lists in the first place. Seeing what makes the collective top ten is a lot of fun, but may I direct your attention to the full breakdown of votes and the individual ballots? My hope with these polls is that, in addition to planting seeds of anticipation for the related posts to come (What I’ll Remember About the Films of 1930: A Love Letter, Favorite Shots, and the Top Ten. Poster Highlights for 1930 can be found here), they mainly serve as a resource for anyone looking for new films to watch whether it’s from seeing:

a. what ‘Film Twitter’ collectively loves
b. more importantly, the films towards the bottom of the list, the ones you’ve never heard of that are begging for (re)discovery.
c. the individual ballots from people whose taste and knowledge you value (“I don’t know what this is, but if Labuza likes it, surely it’s worth a look!”)

So exciting to have first-time voters I’ve long admired such as Farran Nehme, The Nitrate Diva, and author Megan Abbott. Even filmmaker Anna Biller voted! Was also honored to have Miriam Bale, Richard Brody, and so many others whose contributions and tastes are so valued. Actually, all of you who voted!

Surprises? Disappointments? General thoughts? Leave your thoughts on the poll in the comments section!

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POLL RESULTS – Top Ten By Year: 1930
1.
L’Age d’Or (The Golden Age) (France / Buñuel) – 37 votes
2.
Der blaue Engel (The Blue Angel) (Germany / UFA / von Sternberg) – 36 votes
3.
All Quiet on the Western Front (US / Universal / Milestone) – 31 votes
4. Morocco
(US / Paramount / von Sternberg) – 27 votes
5
. Animal Crackers (US / Paramount / Heerman) – 25 votes
6. City Girl
(US / Fox / Murnau) – 24 votes
7. Zemlya (Earth) (Soviet Union / VUFKU / Dovzhenko) – 21 votes
8. Menschen am Sonntag (People on Sunday) (Germany / Filmstudio Berlin / Siodmak, Siodmak, Ulmer, Zinneman & Gleise) – 18 votes
(8.) Sous les toits de Paris (Under the Roofs of Paris) (France / Films Sonores Tobis / Clair) – 18 votes
10. Monte Carlo
(US / Paramount / Lubitsch) 13 votes

The Rest:
12 votes:
Le Sang d’un Poète (Blood of a Poet), The Dawn Patrol
11 votes: The Divorcee, The Big Trail
9 votes: Murder!, À propos de Nice (short)
8 votes: Borderline
7 votes: Madam Satan, Anna Christie (Brown version)
6 votes: Abraham Lincoln, Hell’s Angels, Sono yo no tsuma (That Night’s Wife)
5 votes: Prix de Beauté (Miss Europe), Ladies of Leisure, Our Blushing Brides, Laughter, The Big House 
4 votes: Westfront 1918, The Doorway to Hell
3 votes: Min & Bill, Liliom, Swing You Sinners! (short), Die drei von der Tankstelle (The Three from the Filling Station), Salt for Svanetia, The Bat Whispers, Outward Bound, The Unholy Three, Follow Thru
2 votes: Anna Christie (Feyder version), The Gorilla Mystery (short), Journey’s End, Paid, La Petite Lise (Little Lise), Fujiwara Yoshie no furusato (Home Town), The Golf Specialist (short), Let’s Go Native
1 vote: Das Lied ist aus (The Song is Over), Up the River, Whoopee!, Aimless Walk (short), The Sea of Ravens (short), Ein Lichtspiel schwarz weiss grau (Lightplay: Black/White/Gray) (short), Romance sentimentale (Sentimental Romance) (short), War Nurse, Studie Nr. 6 (short)
Barnacle Bill (short), The Royal Family of Broadway , Rakudai wa shitakeredo (I Flunked, But…), The Fire Fighters (short), Billy the Kid, Free and Easy , Au Bonheur des dames, Not So Dumb, Sins of the Children, The Flirting Widow, Hogaraka ni ayume (Walk Cheerfully), Another Fine Mess (short), The Devil’s Cabaret (short), Hell’s Heroes, Montana Moon, Fast and Loose, The Office Wife, Raffles, Her Man , Loose Ankles , King of Jazz, Sunny Skies , Let Us Be Gay , The Devil to Pay!

THE BALLOTS:

@fantasmascope (Emily of Femina Ridens):
Madam Satan, City Girl, Prix de Beauté, Borderline, People on Sunday, Das Lied ist aus, Girl with a Hatbox (I keep seeing this last one as 1927 so I won’t be counting it)

@alexkittle (Alex Kittle of alexkittle.com and 366 Weird Movies):
Min & Bill, Madame Satan, Anna Christie, The Blue Angel, The Divorcee

@tnyfrontrow (Richard Brody of The New Yorker):
The Dawn Patrol, People on Sunday, City Girl, Abraham Lincoln, The Big Trail, The Blue Angel, Whoopee, Morocco, Under the Roofs of Paris

@EricNBarroso:
L’Age d’Or, The Blue Angel, Blood of a Poet

@PaulBoyne: (Paul Boyne of Infinite Crescendo):
1. The Blood of a Poet 2. Animal Crackers 3. All Quiet on the Western Front 4. L’Age d’Or 5. City Girl

@MrDude_o_o:
Der Blaue Angel, People On Sunday, Zemlya (Earth)

@ateliertovar:
Prix de Beauté, Madam Satan, City Girl, Liliom, Ladies of Leisure, L’Age d’Or

@Cinedaze (Paul Anthony Johnson of Film-Philosophy, Popmatters):
The Blue Angel, Morocco, Animal Crackers, Swing You Sinners, L’age D’or, All Quiet on the Western Front, Hell’s Angels, Ladies of Leisure, Murder!, Earth

@fishingwithnate (Nate Fisher):
Morocco

@redroomrantings (Justine A. Smith of Vague Visages, Vice Canada, and Globe Arts):
1. City Girl 2. Morocco 3. Swing You Sinners! 4. All Quiet on the Western Front 5.Animal Crackers 6. The Divorcee 7. Anna Christie 8. The Blue Angel 9. Monte Carlo 10. Madam Satan

@railoftomorrow (Scott Nye, writer and podcast co-host at CriterionCast, etc.):
Blue Angel, Morocco, Blood of a Poet, Three From the Filling Station, City Girl, People on Sunday, Hell’s Angels, L’Age d’Or, All Quiet on the Western Front

@dsl89 (Daniel S Levine of Movie Mania Madness):
Animal Crackers, City Girl, The Dawn Patrol, Anna Christie (German!), Westfront 1918, The Big Trail, All Quiet on the Western Front

@TheEndofCinema (Sean Gilman of The End of Cinema; The George Sanders Show, and They Shot Pictures podcasts):
1. Morocco 2. The Dawn Patrol 3. People on Sunday 4. City Girl 5. Under the Roofs of Paris 6. The Blue Angel 7. Earth 8. All Quiet on the Western Front 9. The Big Trail 10. Animal Crackers

@48ONIRAM (Brian!):
L’Age D’or, Animal Crackers, The Blue Angel

@bmrow (Brent Morrow):
1. City Girl 2. Morocco 3. The Big Trail 4. Laughter 5. Murder! 6. L’âge d’or 7. Monte Carlo 8. The Dawn Patrol 9. Under the Roofs of Paris 10. Earth

@eyeshakingking (Keefe Murphy):
1. Earth 2. People on Sunday 3. L’Age d’Or 4. Borderline 5. Salt for Svanetia 6. Aimless Walk 7. À propos de Nice 8. City Girl 9. The Sea of Ravens 10. A Light Play Black White Gray

@Huntress62:
Min & Bill, Hell’s Angels

@glazomaniac (Sally Jane Black):
Romance sentimentale

@womensrites:
People on Sunday, The Divorcee, L’Age d’Or

@willow_catelyn (of Curtsies and Hand Grenades):
Blood of a Poet, Monte Carlo, L’Age d’Or

@cinebeats (Kimberly Lindbergs of TCM and Cinebeats):
All Quiet on the Western Front, Anna Christie, The Bat Whispers, The Blue Angel, The Gorilla Mystery, L’Age d’Or, Madam Satan, Our Blushing Brides, Outward Bound, The Unholy Three

@marshlands:
All Quiet, L’Age d’Or, Borderline, Dawn Patrol, Earth, Morocco, Blue Angel, Westfront 1918, Blood of a Poet, Murder!

@jasondashbailey (Jason Bailey of Flavorwire):
Animal Crackers ten times (note: I did not count Animal Crackers ten times)

@jodamico1:
Dawn Patrol, All Quiet on the Western Front, People on Sunday, City Girl, Blood of a Poet, Borderline, Earth, Journey’s End, Mickey Mouse’s Gorilla Mystery, aaaaannnd probaaaably Westfront 1918

@HellOnFriscoBay (Brian Darr of Hell on Frisco Bay):
Morocco, That Night’s Wife, City Girl, Big Trail, Blue Angel, Salt For Svanetia, Swing You Sinners, Studie n. 6, Earth, Liliom

@astoehr (Alice Stoehr of Pussy Goes Grrr, Movie Mezzanine, etc.):
L’Age d’Or, Barnacle Bill, Borderline, The Divorcee, Morocco

@FCardamenis (Forrest Cardamenis of Spectrum Culture, The Film Stage & Movie Mezzanine):
The Blue Angel, Morocco, That Night’s Wife, All Quiet on the Western Front, L’Age d’Or, Earth, and Salt for Svanetia

@jchristley (Jamie N. Christley):
1. L’Age d’Or 2. City Girl 3. Under the Roofs of Paris 4. The Royal Family of Broadway 5. I Flunked, But… 6. Morocco 7. Abraham Lincoln 8. Liliom 9. The Fire Fighters 10. That Night’s Wife

@afterglow2046:
City Girl, Blood of a Poet, Age d’Or, Murder! Under the roofs of Paris, Billy the Kid, Morocco, Earth, Divorcée, Miss Europe (Prix de beaute)

@derek_g (Derek Godin):
Animal Crackers, L’Age d’Or

@rgodfrey (Ryan Godfrey):
The Blue Angel, Animal Crackers, Under the Roofs of Paris, All Quiet on the Western Front, L’Age d’Or, Free and Easy

@SchmanthonyP (Brian Schmid):
All Quiet on the Western Front, People on Sunday, Earth, L’Age d’Or, City Girl, Under the Roofs of Paris, The Blue Angel

@dvanhouw (Dave Van Houwelingen):
All Quiet on the Western Front, The Blue Angel, L’Age d’Or, Animal Crackers, Blood of a Poet, Under the Roofs of Paris

@oldfilmsflicker (Marya E. Gates of #AYearwithWomen, #Noirvember, Cinema Fanatic, Rotten Tomatoes, etc.):
À propos de Nice, All Quiet on the Western Front, The Big House, Der blaue Engel, The Divorcee, The Doorway to Hell, Hell’s Angels, Morocco, Our Blushing Brides, Paid

@CineFile:
Animal Crackers, All Quiet on the Western Front

@DavidBlakslee (David Blakslee of Criterion Reflections, Criterion Cast) :
L’Age d’Or, All Quiet on the Western Front, Blood of a Poet, The Blue Angel, Borderline, Monte Carlo, Under the Roofs of Paris, People on Sunday

@labuzamovies (Peter Labuza, Author of Approaching the End, host of The Cinephiliacs. Critic for Variety, The AV Club, Little White Lies, etc):
La Petite Lise, The Dawn Patrol, Version, Walk Cheerfully, Home Town, A propos de nice, The Golf Specialist, Abraham Lincoln, Another Fine Case, Dizzy Dishes, The Devil’s Cabaret

@juvie_cinephile:
L’Age d’Or, The Big Trail, The Blue Angel, Earth, All Quiet on the Western Front, Monte Carlo, Under the Roofs of Paris

@bybowes (Danny Bowes of Salt Lake City Weekly, RogerEbert.com and Indiewire):
All Quiet of the Western Front, Anna Christie, The Blue Angel, City Girl, The Divorcee, Earth, Hell’s Heroes, L’Age d’Or, Let’s Go Native, Madam Satan, Prix de beaute

@leggoet (Marvel Presents Salo):
1. L’Age d’Or 2. The Blue Angel 3. People on Sunday 4. A propos de nice 5. City Girl 6. Animal Crackers 7. The Big Trail 8. Under the Roofs of Paris 9. All Quiet on the Western Front 10. Borderline

@sarahnwondrland (my Aunt!):
1. The Divorcee 2. The Blue Angel 3. Animal Crackers 4. Morocco 5. Anna Christie

@mimbale (Miriam Bale, programmer and contributor to various publications including Film Comment and the New York Times):
Let’s Go Native, Outward Bound, The Dawn Patrol, The Blue Angel, Montana Moon, People on Sunday, Our Blushing Brides, Paid, Fast & Loose, Morocco

@missannabiller (Anna Biller, filmmaker; The Love Witch, Viva):
The Blue Angel, Murder!, Madam Satan, Under the Roofs of Paris, Monte Carlo, Follow Thru, The Unholy Three, Raffles, Our Blushing Brides, Morocco

Janiejoness (tumblr):
L’Age d’Or, Blood of a Poet, Under the Roofs of Paris, Murder!

@FernandoFCroce (Fernando F. Croce of CinePassion):
Earth, L’Age d’Or, Abraham Lincoln, Monte Carlo, Morocco, Dawn Patrol, Murder, City Girl, Big Trail, Up the River

@faithx5 (Jandy of The Frame):
1. All Quiet on the Western Front, 2. The Big Trail, 3. Animal Crackers, 4. People on Sunday, 5. The Blue Angel, 6. The Office Wife

@tenkmovies (of TenKMovies):
1) Blood of a Poet 2) All Quiet on the Western Front 3) Animal Crackers 4) Morocco 5) The Big House 6) The Divorcee 7) Anna Christie 8) Laughter 9) L’age d’Or 10) Abraham Lincoln

@meganeabbott (Megan Abbott, only my favorite current author! Author of Dare Me, The Fever, etc.):
The Blue Angel

@selfstyledsiren (Farran Nehme, the Self-Styled Siren of Film Comment, NY Post, author of Missing Reels):
All Quiet on the Western Front, Her Man, La Petite Lise, City Girl, Min and Bill, The Big House, Morocco, Animal Crackers, Dawn Patrol, The Doorway to Hell

@inessentials
Ladies of Leisure, Monte Carlo, Animal Crackers, The Blue Angel, Sunny Skies

@r_emmet (R. Emmet Sweeney of Movie Morlocks):
Abraham Lincoln, L’Age d’Or, All Quiet on the Western Front, The Big Trail, The Dawn Patrol, Follow Thru, Home Town, Morocco, People on Sunday, The Three from the Filling Station

@HouseOfSparrows (David Robson of House of Sparrows):
The Bat Whispers, A Propos de Nice, Animal Crackers, L’Age d’Or, That Night’s Wife, The Dawn Patrol

@opalfilms:
Blood of a Poet, Blue Angel, All Quiet on the Western Front, L’Age d’Or, Earth, Animal Crackers, Golf Specialist

@UUUUAHHH:
L’Age d’Or, The Blue Angel, Earth, All Quiet on the Western Front, City Girl, Borderline (need to see more)

@bunnifluezl:
People on Sunday, The Big Trail, A propos de Nice

@BBandmoviegal:
MURDER! (Because Herbert Marshall & Hitchcock), CITY GIRL, ALL QUIET ON THE WESTERN FRONT, HELLS ANGELS, ANIMAL CRACKERS

@NitrateDiva (The Nitrate Diva):
The Devil to Pay!, The Doorway to Hell, Follow Thru, Journey’s End, Ladies of Leisure, Laughter, Monte Carlo, Morocco, Our Blushing Brides, Outward Bound

@Onceatenor:
The Blue Angel, Animal Crackers, King of Jazz, All Quiet on the Western Front

@PreCodeDotCom (Pre-Code.com):
All Quiet on the Western Front, Animal Crackers, The Big House, The Divorcee, L’Age d’Or, Let Us Be Gay, Loose Ankles, Monte Carlo, The Unholy Three, War Nurse

@SeithTristan (Tristan Seith):
The Three from the Filling Station, The Blue Angel, People on Sunday, Earth, Westfront 1918, Under the Roofs of Paris, The Big House, L’Age d’Or, Murder!, Doorway to Hell

Amanda (BFF):
Morocco, Anna Christie

Adam K. (friend):
Earth, All Quiet on the Western Front

WordPress and/or Facebook replies:


Duane Porter:
The Blue Angel, Morocco, Monte Carlo, Prix de beauté, L’Âge d’Or, People on Sunday, Under the Roofs of Paris, Laughter, Earth, Au bonheur des dames

Randommyriad:

Animal Crackers, L’Age d’Or

FleurRinna Guta:
1.All Quiet on the Western Front 2. The Blue Angel 3.City Girl 4.Under the Roofs of Paris 5. People on Sunday 6.Anna Christie (German) 7.Monte Carlo 8.That Night’s Wife 9.The Divorcee 10.Not So Dumb

Jerry Bryant Jr.:
Laughter, The Blue Angel, Morocco, City Girl, All Quiet on the Western Front, Ladies of Leisure, À propos de Nice, The Bat Whispers, Sins of the Children, The Flirting Widow

EV:
L’âge d’or, All Quiet on the Western Front, Animal Crackers, Der blaue Engel
Hell’s Angels, Morocco, À propos de Nice, Sous les toits de Paris, Zemlya (Earth)

Steve Elworth:
1. The Blue Angel, 2. That Night’s Wife, 3. Morocco 4. Earth 5. Murder! 6. Under the Roofs of Paris 7. City Girl 8. l’Age D’Or 9. A propos De Nice 10. Monte Carlo 

Steve Ruskin:
Animal Crackers

 

 

 

Vote in the Top Ten By Year: 1930 Poll!


morocco_3_dietrich

It’s that time again! I’m in the second half of my research for Top Ten By Year: 1930 so I thought it would be a good time to do this. I’ve conducted polls with all of you fellow film lovers for some previous years of the Top Ten By Year Project; 1925, 1992, 1958, and 1978. It has been such a success, and is now an integral part of the project’s traditions.

So tell me (leave your ballots in the comments); what are your top films of 1930?

Order doesn’t factor in for results, but you are more than welcome submit them that way. If you’ve only seen a handful of films from 1930, don’t just list off what you’ve seen. I only want ballots with films you consider favorites. If that means it’s only 1 or 2, that’s perfectly fine!

I repeat: I don’t want 10 for the sake of 10 or even 5 for the sake of 5. Only the ones you love.

You have a week to vote. Results will go up next week. The post will contain, as always, a breakdown of all votes by numbers and individuals. The top ten is always the least interesting part of the poll. Seeing what’s below, discovering films that have there of four votes, seeing what everyone voted for as an individual, that is where the worth of the poll comes in. The poll breakdowns are excellent resources for learning about new-to-you films.

Movie Poster Highlights: 1930


Previous Movie Poster Highlights posts: 1925, 1978

It’s that time again! I’m not sure there’s any Top Ten By Year related post I look forward to more than Movie Poster Highlights. It gives me a chance to really cull through works of all kinds, to try my best to track down artists, and to share my findings.

First, I’m going to put the spotlight on a couple of artists who have works represented. ERIC ROHMAN turned up in my 1925 post with a few posters. I really love his use of frames within frames, and the juxtaposition of harsh lines with soft sketches.

From PosterGuide: “Eric Rohman was a Swedish illustrator and film actor. He began designing posters around 1915-16, while based in Copenhagen. Around 1920, he had his own studio with several employees. By the 1940s, he believed that he had produced approximately 7000 movie posters.”

1930 - A Lady to Love (1930) su
Swedish poster for A Lady to Love. Artist: Eric Rohman. I am a sucker for pops of color.
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Swedish poster for Undertow. Artist: Erik Rohman. Love the drama of the waves and the actors profiles.
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Swedish poster for Let Us Be Gay. Artist: Eric Rohman. It’s really funny that this poster contrasts partying with Shearer’s kids because the film doesn’t care about those kids one lick.
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Swedish poster for Czar of Broadway. Artist: Eric Rohman.
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Swedish poster for Va Banque. Artist: Eric Rohman. This one is difference than the rest in font and design. It’s also for a German film whereas his others here are for US films. I’m so drawn to the color scheme and blocking as well as the off placement of arms and hands.

DOLLY RUDEMAN:
The only female Dutch poster designer of the 1920’s, Rudeman’s work through the 20’s the 30’s is incredible. Her posters utilize reds, oranges, and yellows, and are full of sweeping shadows. Here is her poster for Morocco.

dolly rudeman
Dutch poster for Morocco. Artist: Dolly Rudeman

SWEDISH POSTERS:
Sweden has by far the highest number of posters here. So here are a bunch. I did the best I could with tracking down artist info. It’s largely impossible. The only info I could find was ‘J. Olsens’ at the bottom of some, which I was hoping was an artist stamp, but seems to be a printing company.

04-Troll-Bruden-Sverige--1930-swedish-poster
Swedish poster for Trollbruden (The Troll Bride), a film I can’t find any evidence evidence of existing. Artist unknown. Printed by: J. Olsens. I love this so much. It looks so much more like an illustration you’d find in a children’s book, and there isn’t another poster I saw like this one in all of my research,
divorcee swedish
Swedish poster for The Divorcee. Artist unknown. Printed by J. Olsens. Very similar color scheme as Va Banque.
cat creeps swedish
Swedish poster for The Cat Creeps. Artist unknown. Printed by J. Olsens. Clock. Haunted house. Lady’s frightened face. Bats. Great combination.
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Swedish poster for Du Barry, Woman of Passion. Artist unknown. If you can’t tell, if you put an illustration of a pretty lady on your poster, I will love your poster.
Midnight Mystery
Swedish poster for Midnight Mystery. Artist: Unknown. The illustration here is so atypical and I’m fascinated by it.

Yellow is a very popular color, especially in some of these Swedish posters:

girl of the golden west swedish
Swedish poster for The Girl of the Golden West. Artist unknown. (Cannot find any indication as to what ‘Palm’ might mean)
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Swedish poster for Hit the Deck. Artist: Russell Patterson. Love the repetition of the svelte figures.
Swedish Man Trouble
Swedish poster for Man Trouble. Artist: Unknown
the girl said no swedish
Swedish poster for The Girl Said No. Artist: John Held Jr. Love the detail of the dirty rolled-down stockings.
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Swedish poster for Ladies of Leisure. Artist: Unknown
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Swedish poster for Die drei von der Tankstelle. Attributed to Otto G. Carlsund. This is a special one. So flat and square and perfect.

Here’s are a pair of profiles from Gosta Aberg:

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Swedish poster for Feet First. Artist: Gosta Aberg.
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Swedish poster for Playboy of Paris. Artist: Gosta Aberg.


It’s only fitting that the greatest movie ever has the greatest posters. Ladies and gents, Madam Satan!

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Multiple posters from one film: Here’s The Blue Angel. 

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US poster for The Blue Angel. Artist unknown. Iconic.
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German poster for Der blaue Engel. Artist: Dorothea Fischer-Nosbich. Such a striking anomaly. Every inch of space is used, the forms squeezed in in unexpected ways.
DER BLAUE ENGEL - German Poster by Paul Rosié
German poster for Der blaue Engel. Artist: Paul Rosié. I came across this after I had gathered all of my posters. It’s so strange to see an ad for this film without Dietrich. But weirdly enough, it’s my favorite poster for the film. The presentation is so deceptively charming; it knowingly hides the very dark content of the film, giving this a sinister edge.

Here are two posters by Roger Vacher for Le mystère de la chambre jaune (The Mystery of the Yellow Room).

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French poster for Le mystère de la chambre jaune. Artist: Roger Vacher
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French poster for Le mystère de la chambre jaune. Artist: Roger Vacher

 

flame of love 2
French poster for The Flame of Love. Artist unknown
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Swedish poster for The Flame of Love. Artist unknown

 

 

 

 

 

 

 

 

 

These next two posters remind me of each other. Maybe it’s the colors or the stare of the faces. The poster on the left, for Captain of the Guard, is INSANE.

captain of the guard
US poster for Captain of the Guard. Made by the Morgan Litho Company
green goddess
US poster for The Green Goddess. Artist unknown

 

 

 

 

 

 

 

 

 

 

 

A pair of William Powell posters.

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US poster for Street of Chance. Artist unknown. Obsessed with this use of red. This artist understands not to take away from Powell’s eyes.
BIGGER The Benson Murder Case - 1SHT 1930 600
US poster for The Benson Murder Case. Artist unknown. So in love with the placement of every element here. Perfect balance, and again, understanding that William Powell’s eyes are guaranteed to sell any film.

And here are the rest. Hope you enjoy!

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Italian poster for City Girl. Artist unknown
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French poster for Tonka of the Gallows. Artist unknown. Enticed by the mirroring effect.
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US poster for Murder! Artist unknown. One of my favorite posters for any Hitchcock film.
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US poster for The Big House. Artist unknown. Another anomaly. Bars and faint sketches make for a dynamic poster.
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French poster for La petite Lise. Artist unknown. Satan and Pearls. That’s all you need.
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Dutch poster for Brand in der Oper. Artist unknown. That man does not have a good grip on that woman.
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Spanish poster for Viennese Nights. Artist unknown
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French poster for animated film Le roman de Renard (The Tale of the Fox). Artist unknown
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US poster for Seven Days’ Leave. Artist unknown. Gary Cooper’s beautiful face surrounded by pillars. Sold.
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US poster for Fast and Loose. Artist unknown. Love how bubbly and pink this is, and the sloppy and chic depiction of Miriam. 
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US poster for Show Girl in Hollywood. Made by the Continental Litho Company
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US poster for King of Jazz. Artist unknown

If I had to pick a favorite from 1930 it would be Joseph Koutachy’s French poster for Madam Satan. It helps that the film has special significance for me, but this stands out regardless. It’s like an ad for Catwoman decades before the fact. There isn’t another poster from 1930 like it:

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French poster for Madam Satan. Artist: Joseph Koutachy