State Fair

Across the United States, state fairs have become a welcomed institution.  In 1933’s State Fair, based on the novel by Philip Strong, you may find some old and outdated traditions mixed in with the ones that have lasted.  Side shows and trapeze artists have since been traded in for demolition derbies and local talent concerts.  But there are still ribbons ready to be given for the best livestock, produce and cooks.  And the midway is still full of games, thrills and romance.

The story centers around the Frake family from Iowa.  Pa, Able (Will Rogers), is getting their hog, Blue Boy, ready and hoping for a blue ribbon.  Ma, Melissa (Louise Dresser), is preparing her minced meat recipe, fretting over whether or not to add brandy to earn a ribbon herself.  Their son, Walter (Norman Foster) has been practicing since the last fair to win big at the ring toss booth.  And their daughter, Margy (Janet Gaynor), has a suitor who proposes marriage.  She will give him an answer when her family comes back from the fair.

Adventures and romance unfold at the fairgrounds.  Pa spends most of his time at the livestock yard fretting over Blue Boy.  While Walter is busy cleaning out the ring toss booth, he meets a beautiful trapeze performer (Sally Eilers).  And when she is not doing women’s work with Ma at camp, Margy meets a charming newspaper boy, Pat (Lew Ayres) on the roller coaster.  It seems romance blooms easily at the fairgrounds, but will it last when the fair is over?

Without getting caught up in how everything is so outdated, State Fair is quite a fun film.  In fact, some of the old-timey phrases are a riot; what exactly does canoodling mean anyway?  The family works well together and giving each character individual problems keeps all of them interesting.  The mix of teenage fair romance with ma and pa’s wholesome competition is a great balance.  And I certainly did not expect to see the hogs oinking in conversation, much less a hog fight.

In all, I was glad to find State Fair, and very happy that TCM premiered it during their 31 Days of Oscar.  For me, TCM’s 31 Days of Oscar is like Christmas time, only with better TV programing to tune into.  Throughout this month of celebrating Academy recognized movies, there will be plenty of films that I have reviewed here, as well as some that I have been searching for (like this one), and some wonderful gems that I plan to see and write about.  Time to enjoy!

“Don’t tell me you’ve been using my hairbrush on that hog!”

All Quiet on the Western Front

It was in a high school history class that I first encountered All Quiet on the Western Front.  Even as my classmates groaned over the black and white, I think Mr. Acton realized this was one of those films that everyone needs to see.  Between then and now, the film based on the novel by Erich Maria Remarque and directed by Lewis Milestone, resonated just as well within me, just as it has for generations over the past eight decades.

In Germany, WWI is beginning like a fanfare outside the windows of a classroom full of young men, barely old enough to sign up for the war.  Their old teacher fills them with pride, calling them the “iron men of Germany” and asking if they will join up.  While he makes war sound like a romantic and honorable duty, some of the boys drift into their own fantasies about making their parents proud in the German uniform and riding in a parade in their honor with women all around.  Throwing their young ambitions to the wind, the entire class signs up and together they learn the cruel truth about war.

All Quiet on the Western Front was one of the most violent and graphic films of its time.  It was not until 1934 that the Production Code was enforced, keeping films less graphic and racy.  We see the gritty side of trench warfare full of rats, barbed wire, amputations, men being mowed down in waves from the early machine guns and bombs exploding at all hours.  Between seeing these young men cope with dying, being driven mad and becoming ruthless killers the psychological aspects of the film are just as compelling as the visuals.

One of the most captivating scenes in the film is when Paul (Lew Ayres) is stuck in a ditch overnight with a man he wounded.  With bombs and gunfire all around, he cannot risk leaving, but between that and a man slowly dying by his own hand, he becomes very disturbed.  He goes back and forth from hating the man, wishing he would die faster to wanting to help him.  It is such a poignant and emotional scene that puts faces to either side of the war and shows an inner struggle within Paul that many soldiers try not to think about.  This was one of the most memorable scenes back in that classroom nearly ten years ago, and it remains one that affects me the most.

The crushing sense of disillusion these young men face is what sets this apart from many other war films.  The stark contrast between the boys as they cheer around their classroom to the realizations of a violent death in a muddy trench is startling.  After seeing this level of soul crushing brutality, it is hard to imagine anyone willing to go to war.  That is something rare to see in war films until the Vietnam era, and I believe makes this better than many modern war films.

Because of the film’s realistic and unflattering look at war, it was banned in many European countries until the fifties.  It was playing for a short while in Germany, but during many screenings, Nazis would interrupt the film by storming into the theater chanting their slogans, releasing rats or setting off stink bombs.  While it was still playing in neighboring countries, there would be busses secretly shuttling people from Germany to the screenings.

All Quiet on the Western Front is one of those essential films that everyone should see.  The fact that it is over eighty years old seems to drive people away, but I assure you, it is one of the best quality films you will find from the thirties.  Many times, today’s war films are all gore and no substance.  This is a film that is not too gory by today’s standards, but holds its merit within its ideals.  Between its strong anti-war message, heartbreaking storyline and intense images, the film can still captivate viewers today.

“You’re just a man like me and I killed you.  Oh God, why did they do this to us?”

Johnny Belinda

The story of a deaf woman being raped sounds like a bad Helen Keller joke.  Now that we’ve cleared that air, let’s not go there.

Johnny Belinda takes place in a peaceful fishing town in Nova Scocia.  It’s your typical small town, where everyone knows everyone and newcomers, like Dr. Robert Richardson (Lew Ayres) are subject to idle gossip.  Right away we see he’s a kind and generous man, who even makes a house-call in the middle of the night to help birth a baby cow, for the McDonald family, who his secretary warns, might not be able to pay.  He discovers Mr. McDonald’s deaf-mute daughter, Belinda (Jane Wyman) and takes immediate interest.  He teaches her sign language and it turns out she’s a quick learner.  Before long, she’s able to read her family’s lips and communicate like never before.  How happily life changing.

Just because she’s learning, doesn’t mean she’s free from ridicule.  She’s referred to as “the dummy”, pitied and laughed at by most.  She becomes a lewd interest of the town’s good ol’ brute, Locky.  His girlfriend, Stella warns him to leave her alone, not realizing the extent of his ill intentions.  After getting drunk at a town party, Locky stumbles over to the McDonald residence and rapes poor Belinda.  It all would’ve gone unnoticed and quiet, but she ends up pregnant with his child.  Once this scandalous news hits the village, rumors arise about who they suspect the father is.  The whole family is avoided like lepers and business drops mixing financial struggles to their heartbreaks.

Jane Wyman won the Oscar for best leading actress, without saying a word.  She stares with big innocent eyes that light up with understanding and unforeseen intelligence.  She doesn’t try to overcompensate for lack of words, like a silent film star.  Her sign language isn’t flamboyant either, she’s calm, obedient, and understanding.  The only time we ever see fear or conflict is just before her attack and in the more climactic action.

I was surprised to see such daring themes of rape and disability vs intelligence in the forties.  I don’t mean to generalize, but this seemed to be the time period for rallying war films, sweeping romances and giddy comedies.  Hard subjects like this must’ve averted quite a few eyes.  But those daring the trip to the theater must’ve been enthralled.  Many times today we still question if a disabled person can take care of a child, and that comes up in the later part of the film.  I’ll let you witness the debate with fresh eyes.

This isn’t one of those great classics everyone talks about, but it is good.  If you’re interested in deaf issues, this is a great example with many edges.  If you’re looking for a lighter film, skip it.

“There’s only one shame, failing a human being who needs you.”