Let’s just get this out of the way right now: nobody actually thinks this was the best movie made in 1941. Nobody thought it back then either. It is a truth universally acknowledged that Citizen Kane is better than How Green Was My Valley, but that William Randolph Hearst was a vindictive sonofabitch who owned half the newspapers in the country and had Louella Parsons on permanent payroll. It simply wasn’t safe for voting members of the Academy to support Kane, so they went with a safety.
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.
Gone With The Wind is a serious problem for me.
On the one hand, as a movie, it’s pretty good. The cinematography’s great, the actors are gorgeous, the sense of an epic is powerful and heartfelt, and the score is top-notch.
On the other hand, most of that is also true of Triumph of the Will, and it’s hard to escape the comparison.
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.
This is what you call surefire Oscar bait: a period biopic that talks about an Important Social Issue. The Life of Emile Zola is a weirdly-paced story with a strange two-part structure. First, we have your conventional biopic. Zola starts out penniless and living in a garret, but perseveres and works hard and finds success with Nana, because it turns out sex sells. He raises a family, yadda yadda yadda, and his career and the film are both slowing down by the halfway mark.