The Life of Emile Zola: 1937

Before I began watching The Life of Emile Zola, I didn't know who Zola was or much about the film other than it was set in France and would include a courtroom scene. I wasn't even sure if Zola was a real person, but within the first minute of starting the film, I had my answer. The film begins with a text screen that explains that the story is loosely based on actual people and events. And a quick Google search results in several biographies of Zola (one from Encyclopedia Brittanica if you want a brief bio). Zola was a French author who wrote about the truth, exposing the ugly side of Paris and fighting for change in the government.

The film begins in 1862 with Zola as a young man, completely broke and sharing a room in a ramshackle hotel with his best friend. Both men are idealistic yet realistic: they see the misery of the working man and want to change Paris for the better. Zola believes more in the power of the truth than his friend, and after several years of struggle, he publishes a book about a French prostitute that becomes a best seller. It seems that almost overnight Zola has gained fame and success. In the years that follow, his books continue to be best sellers, and Zola becomes comfortably wealthy, living with his wife in a lovely home in Paris. As his fame increases, Zola becomes less spirited about finding the truth and more content with simply enjoying the benefits of success. Disappointed in him, his friend leaves Paris because of Zola's acceptance of life as it is. This act, combined with the French Army wrongly accusing an innocent man of treason, are what cause Zola's passion to reignite as he fights for the truth again.

With such as fascinating man as the center of the story, along with the military corruption, the plot is engaging. It reminded me of a John Grisham courtroom novel in the sense that the underdog is fighting for the truth, but the first half hour of the film reminded me more of Les Mis as Zola encounters the poverty and sadness in the streets of Paris. Zola is clearly motivated to make his world better, and as he says in the film, he would rather be remembered for his ideas than his person. He is truly selfless.

I enjoyed how the film transitioned from one situation to the next using visuals such as book covers and newspapers. When I looked up Zola, I found an image of the front page of the newspaper when Zola accused the Army of wrongfully punishing Dreyfus:

Fortunately, the one in the film was in English, but other than that change, the film used the same layout as this newspaper, adding to the authenticity of the film even if the opening of the film had a disclaimer about the historical accuracy. 

The Life of Emile Zola was an enjoyable and inspirational film about one man making  a difference (think Mr. Smith Goes to Washington moreso than It's a Wonderful Life). There are times when I felt angry with the corruption, but at least this time, Hollywood picked a story that shows good triumphing over evil. And in the time of the Great Depression and rising tensions in Europe, it was just what audiences needed. Combined with the cinematography and acting, it's no wonder the film earned the Oscar for Best Picture.

The Great Ziegfeld: 1936

Three hours--185 minutes to be exact--is the running length of The Great Ziegfeld. The film chronicles the life of Florenz Ziegfeld, a Broadway producer who started his career promoting a strong man at the 1893 Chicago World's Fair. Despite the length of the film, The Great Ziegfeld is highly entertaining. Ziegfeld led a fascinating life, and in this film, he is portrayed as a suave con-man who wildly swings back and forth from being utterly broke to the most successful producer on Broadway. His confidence remains unshakable (most of the time), and he charms the other characters and the audience.

I must admit, the running length is daunting. I split the viewing into two nights, ending night one with the intermission. The film is long due to the multiple musical numbers; the film is, after all, chronicling the life of a Broadway producer, so naturally it includes some of his productions. Most productions scenes include 3-4 songs, one of which is always the glamorous and over-the-top finale that Ziegfeld was known for. Towards the end, I was sick of the productions and more interested in seeing how Ziegfeld's story would end. Despite being tired of seeing the productions, with each one, the extravagance struck me. The film was produced during the Great Depression but seeing this film you wouldn't know it because of the extravagant costumes and set designs. It's no wonder that Ziegfeld was so incredibly popular during the Roaring 20's: he captured the extravagance of the time perfectly.

The Great Ziegfeld is worth the time, but I'd recommend it for a rainy day or a wintry afternoon when you want to stay indoors and indulge in drama, song, and dance.

Mutiny on the Bounty: 1935

An hour and half into Mutiny on the Bounty, and finally, there is a mutiny on the ship. Unlike the previous films and posts, I'm writing this post as I attempt to finish this film. While I find the acting outstanding (it's no surprise that the three leading men were all nominated for Best Actor the same year the film won Best Picture) and the cinematography is impressive, the actual story takes too long to get started, and by the time it starts, I'm no longer interested.

According to the opening background information, the story is based on a true mutiny that changed the way British ships operated. Captain Bligh is captain on the Bounty, and he rules with an iron fist. Bligh believes that control is best achieved through fear, and when sailors disobey, he punishes harshly with flogging (whipping). The first hour of the film is the ship's journey to Tahiti to pick up breadfruit plants for the West Indies. Several crew members die on the voyage, one due to flogging. Bligh's brutality is overwhelming terrible, and I kept thinking the mutiny would happen any time but no. It just kept going on and on and on. The mutiny doesn't occur until they leave Tahiti.

Like I said, the acting is solid. Clark Gable plays Fletcher Christian, the first officer who leads the mutiny. Gable is outstanding. I kept thinking about the last film I watched for this blog, It Happened One Night, and how Gable plays such a significantly different character. His ability to transform into this role is truly impressive. But that, along with other actors, it's insufficient to make this 132 minute film bearable.

It Happened One Night: 1934

As the first romantic comedy to win best picture, It Happened One Night is simply pure enjoyment on screen. Claudette Colbert and Clark Gable star, and in true romantic comedy fashion, they despise each other at first only to fall in love and eventually end up together, despite some difficulties and misunderstandings. When films like this win Best Picture, I find myself liking the Academy more because it shows that no matter the genre, some films are universally outstanding.

It Happened One Night is an easy movie to watch. Within the first 10 minutes, I found myself caught up in Ellie's plight against her controlling father and her desire to make her own decisions. At the same time, I scoffed like Peter when Ellie clearly shows that she thinks money will solve all problems. The chemistry between Colbert and Gable is perfect: the right amount of flirtation and frustration. They made me smile, and when they were apart, I felt their pain and confusion. This film is what modern romantic comedies should strive to be. Instead of using sex to create chemistry, the characters should use their wits, which is exactly what 1930s audiences would allow on screen. And in doing so, the romantic comedies like It Happened One Night were challenged to show love through sparring and tearing down the Walls of Jericho (watch the movie and you'll get the reference).