Favorite Films Set in the 1830s

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Below is a list of my favorite movies (so far) that are set in the 1830s:

 

FAVORITE FILMS SET IN THE 1830s

1. “The Adventures of Huck Finn” (1993) – Elijah Wood and Courtney B. Vance starred in this excellent Disney adaptaion of Mark Twain’s 1885 novel about a young Missouri boy who joines a runaway slave on a journey along the Mississippi River toward the free states in antebellum America. Stephen Sommers directed.

 

1- The Count of Monte Cristo 2002

2. “The Count of Monte Cristo” (2002) – James Caviezel starred as the vengeful Edmond Dantès in Disney’s 2002 adaptation of Alexandre Dumas, père’s 1844 novel. Directed by Kevin Reynolds, the movie co-starred Guy Pearce and Dagmara Dominczyk.

 

2 - Pride and Prejudice 1940

3. “Pride and Prejudice” (1940) – Greer Garson and Laurence Olivier starred in this entertaining adaptation of Jane Austen’s 1813 novel. Robert Z. Leonard directed.

 

3 - The Count of Monte Cristo 1975

4. “The Count of Monte Cristo” (1975) – Richard Chamberlain gave an intense performance in the 1975 television adaptation of Dumas’ novel. Tony Curtis and Kate Nelligan co-starred.

 

4 - Impromptu

5. “Impromptu” (1991) – Judy Davis and Hugh Grant starred in this comedic tale about author George Sand’s pursuit of composer Frédéric Chopin in 1830s France. James Lapine directed.

 

5 - Amistad

6. “Armistad” (1997) – Steven Spielberg directed this account of the 1839 mutiny aboard the slave ship La Amistad and the trials of the Mendes tribesmen/mutineers, led by Sengbe Pieh. The movie starred Djimon Hounsou, Matthew McConnaughey, Morgan Freeman and Anthony Hopkins.

 

6 - Wide Sargasso Sea 2006

7. “Wide Sargasso Sea” (2006) – Rebecca Hall and Rafe Spall starred in this 2006 television adaptation of Jean Rhys’s 1966 novel, which is a prequel to Charlotte Brontë’s 1847 novel, “Jane Eyre”. It focused upon the early marriage of Antoinette Cosway (Bertha Mason) and Edward Rochester.

 

7 - My Cousin Rachel

8. “My Cousin Rachel” (1952) – Olivia de Havilland and Richard Burton starred in this adaptation of Daphne Du Maurier’s 1951 novel about a young Englishman’s obsession with his late cousin’s widow. Henry Koster directed.

 

8 - The Alamo 2004

9. “The Alamo” (2004) – John Lee Hancock directed this account of the Battle of the Alamo, the only production about the Texas Revolution that I actually managed to enjoy. The movie starred Billy Bob Thornton, Patrick Wilson and Jason Patric.

 

9 - The Big Sky

10. “The Big Sky” (1952) – Howard Hawks directed this adaptation of A.B. Guthrie’s 1947 novel about a fur trader’s expedition up the Missouri River. Kirk Douglas and Dewey Martin starred.

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JANE AUSTEN’s Heroine Gallery

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Below is a look at the fictional heroines created by Jane Austen in the six published novels written by her. So, without further ado . . . 

JANE AUSTEN’S HEROINE GALLERY

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Elinor Dashwood – “Sense and Sensibility” (1811)

Elinor Dashwood is the oldest Dashwood sister who symbolizes a coolness of judgement and strength of understanding. This leads her to be her mother’s frequent counsellor, and sometimes shows more common sense than the rest of her family. Elinor could have easily been regarded as a flawless character, if it were not for her penchant of suppressing her emotions just a little too much. Ironically, none of the actresses I have seen portray Elinor were never able to portray a nineteen year-old woman accurately.

Elinor - Joanna David

1. Joanna David (1971) – She gave an excellent performance and was among the few who did not indulge in histronics. My only complaint was her slight inability to project Elinor’s passionate nature behind the sensible facade.

Elinor - Irene Richards

2. Irene Richards (1981) – I found her portrayal of Elinor to be solid and competent. But like David, she failed to expose Elinor’s passionate nature behind the stoic behavior.

Elinor - Emma Thompson

3. Emma Thompson (1995) – Many have complained that she was too old to portray Elinor. Since the other actresses failed to convincingly portray a nineteen year-old woman, no matter how sensible, I find the complaints against Thompson irrelevant. Thankfully, Thompson did not bother to portray Elinor as a 19 year-old. And she managed to perfectly convey Elinor’s complexities behind the sensible facade.

Elinor - Hattie Morahan

4. Hattie Morahan (2008) – She gave an excellent performance and was able to convey Elinor’s passionate nature without any histronics. My only complaint was her tendency to express Elinor’s surprise with this deer-in-the-headlights look on her face.

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Marianne Dashwood – “Sense and Sensibility” (1811)

This second Dashwood sister is a different kettle of fish from the first. Unlike Elinor, Marianne is an emotional adolescent who worships the idea of romance and excessive sentimentality. She can also be somewhat self-absorbed, yet at the same time, very loyal to her family.

Marianne - Ciaran Madden

1. Ciaran Madden – Either Madden had a bad director or the actress simply lacked the skills to portray the emotional and complex Marianne. Because she gave a very hammy performance.

Marianne - Tracey Childs

2. Tracey Childs – She was quite good as Marianne, but there were times when she portrayed Marianne as a little too sober and sensible – even early in the story.

Marianne - Kate Winslet

3. Kate Winslet (1995) – The actress was in my personal opinion, the best Marianne Dashwood I have ever seen. She conveyed Marianne’s complex and emotional nature with great skill, leading her to deservedly earn an Oscar nomination.

Marianne - Charity Wakefield

4. Charity Wakefield (2008) – She solidly portrayed the emotional Marianne, but there were moments when her performance seemed a bit mechanical.

Elizabeth 4 Elizabeth 3 Elizabeth 2 Elizabeth 1

Elizabeth Bennet – “Pride and Prejudice” (1813)

Elizabeth is the second of five daughters of an English gentleman and member of the landed gentry. She is probably the wittiest and most beloved of Austen’s heroines. Due to her father’s financial circumstances – despite being a landowner – Elizabeth is required to seek a marriage of convenience for economic security, despite her desire to marry for love.

Elizabeth - Greer Garson

1. Greer Garson (1940) – Her performance as Elizabeth Bennet has been greatly maligned in recent years, due to the discovery that she was in her mid-30s when she portrayed the role. Personally, I could not care less about her age. She was still marvelous as Elizabeth, capturing both the character’s wit and flaws perfectly.

Elizabeth - Elizabeth Garvie

2. Elizabeth Garvie (1980) – More than any other actress, Garvie portrayed Elizabeth with a soft-spoken gentility. Yet, she still managed to infuse a good deal of the character’s wit and steel with great skill.

Elizabeth - Jennifer Ehle

3. Jennifer Ehle (1995) – Ehle is probably the most popular actress to portray Elizabeth and I can see why. She was perfect as the witty, yet prejudiced Elizabeth. And she deservedly won a BAFTA award for her performance.

Elizabeth - Keira Knightley

4. Keira Knightley (2005) – The actress is not very popular with the public these days. Which is why many tend to be critical of her take on Elizabeth Bennet. Personally, I found it unique in that hers was the only Elizabeth in which the audience was given more than a glimpse of the effects of the Bennet family’s antics upon her psyche. I was more than impressed with Knightley’s performance and thought she truly deserved her Oscar nomination.

Jane 4 Jane 3 Jane 2 Jane 1

Jane Bennet – “Pride and Prejudice” (1813)

The oldest of the Bennet daughters is more beautiful, but just as sensible as her younger sister, Elizabeth. However, she has a sweet and shy nature and tends to make an effort to see the best in everyone. Her fate of a happily ever after proved to be almost as important as Elizabeth’s.

Jane - Maureen O Sullivan

1. Maureen O’Sullivan (1940) – She was very charming as Jane Bennet. However, her Jane seemed to lack the sense that Austen’s literary character possessed.

Jane - Sabina Franklin

2. Sabina Franklyn (1980) – She gave a solid performance as the sweet-tempered Jane. However, her take on the role made the character a little more livelier than Austen’s original character.

Jane - Susannah Harker

3. Susannah Harker (1995) – I really enjoyed Harker’s take on the Jane Bennet role. She did a great job in balancing Jane’s sweet temper, inclination to find the best in everyone and good sense that Elizabeth ignored many times.

Jane - Rosamund Pike

4. Rosamund Pike (2005) – She gave a pretty good performance as the sweet and charming Jane, but rarely got the chance to act as the sensible older sister, due to director Joe Wright’s screenplay.

Fanny 3 Fanny 2 Fanny 1

Fanny Price – “Mansfield Park” (1814)

Unfortunately, Fanny happens to be my least favorite Jane Austen heroine. While I might find some of her moral compass admirable and resistance to familial pressure to marry someone she did not love, I did not admire her hypocrisy and passive aggressive behavior. It is a pity that she acquired what she wanted in the end – namely her cousin Edmund Bertram as a spouse – without confronting his or her own personality flaws.

Fanny - Sylvestra de Tourzel

1. Sylvestra de Tourzel (1983) – She had some good moments in her performance as Fanny Price. Unfortunately, there were other moments when I found her portrayal stiff and emotionally unconvincing. Thankfully, de Tourzel became a much better actress over the years.

Fanny - Frances O Connor

2. Frances O’Connor (1999) – The actress portrayed Fanny as a literary version of author Jane Austen – witty and literary minded. She skillfully infused a great deal of wit and charm into the character, yet at the same time, managed to maintain Fanny’s innocence and hypocrisy.

Fanny - Billie Piper

3. Billie Piper (2007) – Many Austen fans disliked her portrayal of Fanny. I did not mind her performance at all. She made Fanny a good deal more bearable to me. Piper’s Fanny lacked de Tourzel’s mechanical acting and O’Connor’s portrayal of Fanny as Jane Austen 2.0. More importantly, she did not portray Fanny as a hypocrite, as the other two did.

Emma 4 Emma 3 Emma 2 Emma 1

Emma Woodhouse – “Emma” (1815)

When Jane Austen first created the Emma Woodhouse character, she described the latter as “a heroine whom no-one but myself will much like”. And while there might be a good deal to dislike about Emma – her snobbery, selfishness and occasional lack of consideration for others – I cannot deny that she still remains one of the most likeable Austen heroines for me. In fact, she might be my favorite. She is very flawed, yet very approachable.

Emma - Doran Godwin

1. Doran Godwin (1972) – She came off as a bit haughty in the first half of the 1972 miniseries. But halfway into the production, she became warmer and funnier. Godwin also had strong chemistry with her co-stars John Carson and Debbie Bowen.

Emma - Gwyneth Paltrow

2. Gwyneth Paltrow (1996) – Paltrow’s portryal of Emma has to be the funniest I have ever seen. She was fantastic. Paltrow captured all of Emma’s caprices and positive traits with superb comic timing.

Emma - Kate Beckinsale

3. Kate Beckinsale (1996-97) – She did a very good job in capturing Emma’s snobbery and controlling manner. But . . . her Emma never struck me as particularly funny. I think Beckinsale developed good comic timing within a few years after this movie.

Emma - Romola Garai

4. Romola Garai (2009) – Garai was another whose great comic timing was perfect for the role of Emma. My only complaint was her tendency to mug when expressing Emma’s surprise.

Catherine 2 Catherine 1

Catherine Morland – “Northanger Abbey” (1817)

I have something in common with the Catherine Morland character . . . we are both bookworms. However, Catherine is addicted to Gothic novel and has an imagination that nearly got the best of her. But she is also a charmer who proved to be capable of growth.

Catherine - Katharine Schlesinger

1. Katharine Schlesinger (1986) – I cannot deny that I disliked the 1986 version of Austen’s 1817 novel. However, I was impressed by Schlesinger’s spot on portrayal of the innocent and suggestive Katherine.

Catherine - Felicity Jones

2. Felicity Jones (2007) – She did a superb job in not only capturing Catherine’s personality, she also gave the character a touch of humor in her scenes with actor J.J. Feild that I really appreciated.

Anne 3 Anne 2 Anne 1

Anne Elliot – “Persuasion” (1818)

Anne - Ann Firbank

1. Ann Firbank (1971) – Although I had issues with her early 70s beehive and constant use of a pensive expression, I must admit that I rather enjoyed her portrayal of the regretful Anne. And unlike many others, her age – late 30s – did not bother me one bit.

Anne - Amanda Root

2. Amanda Root (1995) – Root’s performance probably created the most nervous Anne Elliot I have ever seen on screen. However, she still gave a superb performance.

Anne - Sally Hawkins

3. Sally Hawkins (2007) – She was excellent as the soft-spoken Anne. More importantly, she did a wonderful job in expressing Anne’s emotions through her eyes.

Top Favorite CHRISTMAS Movies

Christmas Movies

Below is a list of my favorite Christmas movies . . . or movies set around the Christmas holidays: 

TOP FAVORITE CHRISTMAS MOVIES

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1. “On Her Majesty’s Secret Service” (1969) – Based upon Ian Fleming’s 1963 novel, James Bond’s professional life and personal life intertwine, when he falls in love during his search to find criminal mastermind, Ernst Stravo Blofeld. George Lazenby starred as British agent James Bond.

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2. “The Thin Man” (1934) – William Powell and Myrna Loy starred as Nick and Nora Charles in this adaptation of Dashiell Hammett’s novel about a former private detective who is drawn into an investigation of the murder of the secretary/mistress of a wealthy man, who is missing. W.S. Van Dyke directed.

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3. “Die Hard” (1988) – Bruce Willis debuted as NYPD detective, John McClane, who faces a group of highly organizedcriminals, performing a heist under the guise of a terrorist attack, while holding hostages that include McClane’s wife on Christmas Eve. Directed by John Tiernan, the movie co-starred Bonnie Bedelia, Alan Rickman and James Shigeta.

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4. “Trading Places” (1983) – John Landis directed this comedy about an upper class commodities broker and a homeless street hustler, whose lives cross paths when they are unknowingly made part of an elaborate test of nature vs. nurture by a pair of wealthy elderly brothers. Dan Ackroyd and Eddie Murphy starred.

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5. “Christmas in Connecticut” (1945) – Barbara Stanwyck and Dennis Morgan starred in this charming comedy about a food writer who has lied about being the perfect housewife. She is forced to cover her deception when her boss and a returning war hero invite themselves to her home for a traditional family Christmas. Peter Godfrey directed.

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6. “Lethal Weapon” (1987) – Mel Gibson and Danny Glover first paired together in this action tale about a veteran cop and a suicidal younger cop forced to work together and stop a gang of former C.I.A. operatives, turned drug smugglers. Richard Donner directed.

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7. “The Santa Clause” (1994) – Tim Allen starred in this funny tale about a man, who inadvertently kills Santa Claus, before he finds himself magically recruited to take his place. Directed by John Pasquin.

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8. “Die Hard 2” (1990) – Bruce Willis returned as police detective John McClane, who attempts to avert disaster as rogue military officials seize control of Dulles International Airport in Washington, D.C., on Christmas Eve.

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9. “While You Were Sleeping” (1995) – Sandra Bullock and Bill Pullman starred in this charming romantic comedy about a Chicago ticket collector, who saves a man for whom she harbors feelings after he is pushed onto the commuter train tracks. While he is in a coma, his family mistakes her for his fiancée. Jon Turteltaub directed.

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10. “Home Alone” (1990) – Macaulay Culkin became a star in this holiday comedy about an eight year-old boy, who is mistakenly left home in Chicago, when his family flies to Paris for the holidays. Chris Columbus directed this movie, which co-starred Joe Pesci, Daniel Stern, John Heard and Catherine O’Hara.

“PRIDE AND PREJUDICE” (1940) Review

 

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“PRIDE AND PREJUDICE” (1940) Review

There have been at least eight adaptations of “Pride and Prejudice”, Jane Austen’s 1813 novel. But as far as I know, only four are well known or constantly mentioned by many of the novelist’s present-day fans. And one of the four happens to be the movie adapted in 1940 by Metro-Goldwyn-Mayer. 

Directed by Robert Z. Leonard, “PRIDE AND PREJUDICE” told the story of the five unmarried daughters of a 19th century English landowner and the efforts of his shrill wife to get them married before his estate is inherited by a distant male cousin. For years, this version of Austen’s novel has been highly regarded by fans and critics alike. But ever since the advent of numerous Austen adaptations in the past 15 to 20 years, these same critics and fans have been incredibly harsh toward this Hollywood classic. Many have complained that the movie failed to be a faithful adaptation of the 1813 novel.

Many of the complaints volleyed by recent Austen fans include:

*The movie’s fashions and setting changed to the late 1820s and early 1830s
*The deletion of Elizabeth Bennet’s trip to Derbyshire and Pemberly
*Mr. Darcy’s slightly less haughty manner
*Instead of a ball, Charles Bingley held a fête for the Hertfordshire neighborhood
*The change in Lady Catherine de Bourgh’s reason for visiting Longbourn

The 1940 movie was the first version of Austen’s novel I had ever seen. Since then, I have become a major fan of some of the adaptations that followed – including the 1980 miniseries, the 1995 miniseries and the 2005 movie. So, when I had decided to watch this version again, I wondered if my high regard of the film would remain. Needless to say, it has.

“PRIDE AND PREJUDICE” had a running time of 117 minutes. To expect it to be a completely faithful adaptation of the novel seemed ridiculous to me. If I must be frank, I have NEVER SEEN a completely faithful adaptation. But I can say this about the 1940 movie, it remains as delightfully entertaining as ever.

However, the movie is not without its faults. And I was able to spot a few. One, I found Laurence Olivier’s portrayal of the haughty Fitzwilliam Darcy as not quite so haughty . . . especially in his pursuit of Elizabeth Bennet during the Netherfield Fête. The time span between Elizabeth’s departure from the Collins household in Kent and Darcy’s arrival in Hertfordshire, to announce his knowledge of Lydia Bennet and George Wickham’s elopement seemed ridiculously short. Since the movie was nearly two hours long, it could have spared a scene in which Colonel Fitzwilliam had revealed Mr. Darcy’s part in Charles Bingley’s departure from Hertfordshire. Instead, we are given a scene in which Elizabeth angrily conveyed the colonel’s revelation to her friend, Charlotte Lucas. And speaking of Charlotte, I was rather disappointed by her portrayal. It made Gerald Oliver Smith’s (Colonel Fitzwilliam) appearance in the movie rather irrelevant. I found nothing wrong with Karen Morely’s performance. But screenwriters Aldous Huxley, Helen Jerome and Jane Muffin failed to do justice to Charlotte’s character or her friendship with Elizabeth.

Despite these disappointments, I managed to enjoy “PRIDE AND PREJUDICE” as much as ever. A good deal of Austen’s words and wit remained in the screenplay. And the screenwriters also added some of their own memorable lines that left me laughing aloud. After my recent viewing of the movie, I believe this “PRIDE AND PREJUDICE” is one of the funniest Austen adaptations I have ever seen. Director Robert Z. Leonard has been nominated for a Best Director Academy Award at least twice in his career – for 1930’s “THE DIVORCEE” and 1936’s “THE GREAT ZIEGFIELD”. It seems a pity that he was never nominated for “PRIDE AND PREJUDICE”, because I believe that he did an excellent job of injecting a great deal of atmosphere, humor and zest into the film. And his pacing of the film is top-notch. Not once did I ever have the inclination to fall asleep, while watching it.

While many Austen fans were busy bemoaning that the movie was not completely faithful to the novel, I was too busy enjoying it. And if I must be brutally honest, there was one major change to Austen’s story that really impressed me. At the Netherfield Fête, Elizabeth began to show signs of warming up to Mr. Darcy, following her demonstration of her prowess as an archer. But when he noticed the less pleasant sides of the Bennet family, Mr. Darcy withdrew himself from Elizabeth, deepening her dislike toward him even further. This was a creation of the screenwriters and to my surprise, I ended up enjoying it.

As I had hinted earlier, I found it to be one of the funniest adaptations I have ever seen. There were so many scenes that either had me laughing on the floor or smirking (with delight). Some of them included the Bennet family’s introduction to Mr. Collins, poor Mary Bennet’s attempt to entertain the guests at the Netherfield Fête, Mrs. Bennet and Lady Lucas’ race to reach their respective homes in order to order their husbands to call upon Charles Bingley, Elizabeth’s first meeting with George Wickham at the Meryton Assembly, and Caroline Bingley’s attempt to express interest in Mr. Darcy’s letter to his sister Georgiana. But the few scenes that I consider my personal favorites were the interaction between Elizabeth and Mr. Darcy during a game of archery, Mr. Collins’ marriage proposal to Elizabeth and the dinner sequence at Rosings with the verbose Lady Catherine de Bourgh.

I tried to find a performance that seemed out of step for me. The only one that left me feeling less than satisfied came from Karen Morely, who portrayed Charlotte Lucas. Her Charlotte seemed to fade into the background, in compare to the other characters. I suspect that the problem had more to do with Huxley, Jerome and Muffin’s screenplay than the actress’ performance. But everyone else seemed to be at the top of their game. Both Ann Rutherford and Heather Angel were outrageously silly as the younger Bennet sisters. Marsha Hunt was hilarious as the Bennet family’s wallflower, Mary. Bruce Lester was charming as the extroverted Charles Bingley. He also made a strong screen chemistry with Maureen O’Sullivan, who was equally charming as the eldest Bennet sibling, Jane. Frieda Inescort was both convincingly cool and sometimes rather funny as the imperious and ambitious Caroline Bingley. Edward Ashley Cooper gave what I believe to be the second best portrayal of the roguish George Wickham. He was charming, smooth and insidious. And Edmund Gwenn gave a subtle, yet witty performance as the quietly sarcastic Mr. Bennet.

However, there were five performances that really impressed me. One came from Melville Cooper, who had me laughing so hard, thanks to his hilarious portrayed the obsequious William Collins, Mr. Bennet’s annoying heir presumptive for the Longbourn estate. Equally funny was the unforgettable character actress, Edna May Oliver as Mr. Darcy’s overbearing aunt, Lady Catherine de Bourgh. Her role as an English aristocrat seemed so convincing that I was amazed to discover that she was an American from Massachusetts. Mary Boland gave a superb and entertaining performance as the equally overbearing and gauche Mrs. Bennet. In fact, I have to say that her portrayal of Mrs. Bennet is my absolute favorite. My God . . . that voice! She really knew how to put it to good use. Fresh from his success in 1939’s “WUTHERING HEIGHTS”, Laurence Olivier tackled the role of Fitzwilliam Darcy, regarded as the favorite Austen hero by many fans. Personally, I thought he did an excellent job, although his Darcy never struck me as haughty as the other interpretations I have seen. From what I have heard, he was not that fond of the picture or his role. I was also amazed that he had such a strong screen chemistry with his leading lady, considering that he thought she was wrong for the part. Olivier had this to say in his autobiography:

“I was very unhappy with the picture. It was difficult to make Darcy into anything more than an unattractive-looking prig, and darling Greer seemed to me all wrong as Elizabeth.”

I thought it was nice of Olivier to call Greer Garson “darling”. But I do not think I can take his comments about her performance that seriously . . . especially since he wanted Vivien Leigh – his paramour at the time and soon-to-be future wife to portray Elizabeth. Personally, I am glad that Garson ended up portraying Elizabeth. I thought she was superb. Garson had a deliciously sly wit that she put to good use in her performance . . . more so than any other actress I have seen in this role. Some have commented that in her mid-thirties, she was too old to portray Elizabeth. Perhaps. But Garson did such an excellent job of conveying Elizabeth’s immaturities – especially when it came to passing judgment on Mr. Darcy that I never gave her age any thought. All I can say is that she was brilliant and I heartily disagree with Olivier.

Many fans have commented upon Adrian’s costume designs for “PRIDE AND PREJUDICE”. They seemed to have taken umbrage that he designed the costumes from the late Georgian Era – namely the late 1820s or early 1830s, claiming that Austen’s story should have been set during the Regency Era. However, Austen first wrote the novel in the late 1790s. And she did not change it that much before it was finally published in 1813. There was no law that “PRIDE AND PREJUDICE” had to be set in the 1810s – especially when one considers there was a version set in early 21st century India. Personally, I found Adrian’s costumes beautiful, even if they were filmed in black-and-white. And since “PRIDE AND PREJUDICE” was not a historical drama, I simply do not understand the fuss.

After reading so many negative comments about “PRIDE AND PREJUDICE” in recent years, I wondered how I react to watching it again after so many years. To my surprise, I discovered that I still love it. Even after so many years. I admit that it is not perfect. But neither are the other versions I have seen. The magic of Greer Garson, Laurence Olivier and director Robert Z. Leonard still holds up after so many years.

“THE THIN MAN” (1934) Review

“THE THIN MAN” (1934) Review

Between 1934 and 1947, Metro-Goldwyn-Mayer (MGM) released at least six movies based upon the characters created by detective novelist, Dashiell Hammett. The first and one of the two best was 1934’s ”THE THIN MAN”, based upon Hammet’s novel, also released in 1934. 

Produced by Hunt Stromberg and directed by W.S. Van Dyke, ”THE THIN MAN” is a murder mystery about a former detective named Nick Charles and his wealthy wife, Nora, who investigate the disappearance of an old friend of Nick’s named Clyde Wynant. When the latter’s mistress is found murdered, Wynant becomes the police’s prime suspect. Wynant’s daughter, Dorothy, asks Nick to not only find her missing father, but discover the identity of the real murderer.

William Powell and Myrna Loy first appeared in a movie with Clark Gable called ”MANHATTAN MELODRAMA”. Not only did that movie proved to be a hit, it also begat a very famous Hollywood screen couple. Producer Hunt Stromberg liked what he saw and decided to pair the two as Nick and Nora Charles, the witty and sophisticated married couple from Hammet’s mystery novel. Powell and Loy not only portrayed Nick and Nora simply as a loving husband and wife, but also two friends who clearly enjoyed each other’s company. And more so than in ”MANHATTAN MELODRAMA”, Powell and Loy were magic together. The two ended up working on twelve other films together. And even in mediocre fare like the later THIN MAN, they sizzled with a wit and charm that made them one of the best Hollywood screen teams in history.

Stromberg also included in the cast, the Irish-born ingénue Maureen O’Sullivan (from the ”TARZAN” fame) as the missing Clyde Wynant’s daughter, Dorothy; Nat Pendleton in his first of two THIN MAN movies as New York Police detective, Lieutenant Guild; Minna Gombell as Wynant’s greedy ex-wife, Mimi Wynant Jorgensen; future Hollywood legend Cesar Romero as Mimi’s gigolo husband, Chris Jorgenson; Porter Hall as Wynant’s attorney Herbert MacCauley; Natalie Moorhead as Wynant’s mistress, Julia Wolf; Edward Brophy as Julia’s gangster friend, Joe Morelli; as Harold Huber as the stool-pigeon Arthur Nunnheim; and Edward Ellis as the missing Clyde Wynant. As much as I try, I could not spot a bad performance from any of them. I was especially impressed by O’Sullivan’s performance as the seemingly normal Dorothy who seemed stuck in the middle of an eccentric and/or amoral family.

Albert Hackett and Frances Goodrich, a married couple that also happened to be contract screenwriters at MGM, wrote the screenplay. They also received Academy Award nominations for their adaptation of Hammet’s novel and I have to say that they deserved the nomination. ”THE THIN MAN’ is a witty and rich story filled with memorable characters and an intriguing mystery that was neither too complicated or insulted the moviegoers’ intelligence. Even more interesting is the fact that ”THE THIN MAN” would prove to be one of the last Pre-Code movies that would be released before the onslaught the Hays Code enforcement on July 31, 1934. ”THE THIN MAN” was released in theaters on May 23, 1934. Hackett and Goodrich’s screenplay was filled with risqué dialogue and situations that made it clear that ”THE THIN MAN” was a Pre-Code film.

And director W.S. (“Woody”) Van Dyke did justice with not only a talented cast, but also with Hackett and Goodrich’s script. During his tenure as a contract director for MGM, Van Dyke had a nickname – “One Take Woody”. Van Dyke usually shot his scenes in one take, which guaranteed that he would complete his assignment on time. MGM boss, Louis B. Mayer loved him for this. Although Van Dyke was never known as one of Hollywood’s more gifted directors, he had a reputation for coaxing natural performances from his stars. This was very apparent in his direction of ”THIN MAN”. There is not a bad performance within the entire cast. Even better, he managed to keep the story rolling with a first-rate pacing – something that is very difficult to do for murder mysteries.

Some eight to nine months after its release, ”THE THIN MAN” collected Academy Award nominations – Best Director (Van Dyke), Best Actor (Powell), (Best Adapted Screenplay) Hackett and Goodrich, and Best Picture. Unfortunately for MGM, the movie was shut out by Frank Capra’s classic screwball comedy, ”IT HAPPENED ONE NIGHT”. Well . . . even if the movie had failed to collect one Academy Award, I believe that it is still one of the best movies that was released during the 1930s.

”THE THIN MAN” was such a success that it spawned five sequels. Aside from 1936’s ”ANOTHER THIN MAN”, which proved to be just as good; the other four sequels turned out to be a ghost of its original success. If you want to see William Powell and Myrna Loy in action as Nick and Nora Charles, I suggest that you stick with this film and its 1936 sequel.