Grand Hotel (1932)

This is the earliest Best Picture winner that doesn’t require any apology or explanation before showing it to contemporary friends. It holds up perfectly, a stark and even angry look at the pointless, brutal cost of war. Its characters join the German army as teenagers full of idealism and hope and all that dulce et decorum est crap, and everything goes downhill for them from there.

Watching Grand Hotel, the 5th-ever Best Picture winner, it struck me how rapidly I was seeing the art of filmmaking develop. An audacious plotline-juggling comedy, this movie makes remarkable use of the camera in ways that haven’t shown up in previous films, but will continue showing up in subsequent ones. (Except for the fact that Greta Garbo has a proprietary lighting system that exists only for her character, as though she’s in a whole different movie by herself. That one’s all Garbo.)

This movie feels like the beginning of an era. Clark Gable, Claudette Colbert, Frank Capra directing, and a romantic-comedy plotline we’re still using today. These are all elements that became dominant over the coming years, but here they all still had that new-star smell. The storyline’s nothing new, your basic fall-in-love-over-an-involuntary-journey bit, but the journey in this case provides a wonderful look at 1930s Americana, all the little motel cabins and logistical weirdness that made up a pre-freeway road trip.

Do you like long, slow musical numbers that involve almost nothing but looking at showgirls’ legs? No? Well, tough shit, because you’re in for a LOT of them. Get comfy.

Of the various films in the genre of “Frank Capra directs Jimmy Stewart and several other stars in a surprisingly funny drama about socioeconomic injustice”, You Can’t Take It With You may be the least of them. Adapted from a George S. Kaufman play, it feels stagebound and claustrophobic, lacking a strong sense of visual expression. The story is just about a rich guy meeting a houseful of Manic Pixie Dream Anarchists, and some of the jokes don’t really work in the 21st century.

In beginning this review, I had to double-check the date. Rebecca was seriously released in 1940? Weird. It feels later than that, like maybe 1950, give or take a couple years. The product of another ten years of the development of film as a storytelling medium, in other words. That may have been what tipped it over to victory; it’s not just emotionally compelling and visually gorgeous, it has a level of nuance and emotion in the structure of every shot and scene that one just doesn’t see in other films from that year.

This film is part of a brief, awkward period in Oscar history: the two years following Hitler's invasion of Poland and preceding Japan's attack on Pearl Harbor. From 1939-41, there was a very strong "America First" movement in the U.S., which opposed America's entry into the war, often because they were outright Nazi sympathizers. This demographic was not well-represented in the film industry, because many of Hollywood's leading figures, like Lubitsch, Wilder, Dietrich, and others, were German by birth.