All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Make Way for Tomorrow
The want to live their own lives..! Can you blame them?
At a family reunion, the Cooper clan find that their parents' home is being foreclosed. "Temporarily," Ma moves in with son George's family, Pa with daughter Cora. But the parents are like sand in the gears of their middle-aged children's well regulated households. Can the old folks take matters into their own hands?
It could easily be argued that Make Way for Tomorrow is melodramatic, emotionally manipulative, and more than a little dated, but for a film made in 1937 (and even compared to some films today), the maturity and realism portrayed in the difficult decisions faced by all supersede those issues that are more a product of the era in which it was made rather than the skill of Leo McCarey and his actors. The universal constant of having parents whom most children we see get old, and how to ensure that their final years are fulfilling and free of physical pain, is one that transcends issues of technical merit and generational mores. The choices Barkley and Lucy's children have to make…
I feel like a "Great Depression" reference is appropriate here, or perhaps some hyperbolic comparison to Tokyo Story. Some sort of silly description that is both accurate and light seems appropriate, because to somberly describe the way this film impacted me would be to delve so deeply into sorrow that I might never see the sun again. That seems depressingly oddball enough, so let me state more plainly: this film is heartwrenching.
Though it delves into directness at times, it still packs a punch. It is a fine melodrama with such a palpable theme--the taking for granted and worse of the elderly, of one's parents--that even its more forced moments work. It's too earnest to be manipulative. It takes two…
Performances : 8.2/10
Story : 9.8/10
Production : 7.8/10
Overall : 8.6/10
First and foremost it must be said that Beulah Bondi's performance in this film is perfect. She alone more than makes up for some of the other characters (mostly the children) coming off as though they were reading off cue cards. She flawlessly tears through so many wonderful emotional scenes and never goes too far, always finding her stride and making every scene come off effortless. The same can be said (to a lesser degree) about Victor Moore. These two make Make Way for Tomorrow a film truly worth watching.
That's not to say there's anything wrong with any other aspect of the film. The story is beautiful.…
A three hanky film if there ever was one. I'm not going to use this film as a podium for my argument against the War on Sentimentality, because this film deserves better than that.
And Jesus Christ. This film is sad. Not sad in the Hallmark movie way. Sad in the way in which Leo McCarey delivers the COLD HARD TRUTH. It's brutal. In any economic crisis, the first to suffer are the old, and even when they've put so much into their children and livelihood, it's all for nothing. All they can live on is memories.
Fuck. I'm crying now.
This film has been called one of the most sad and depressing movies of all time, but I disagree. It's sad, yes, and startlingly unsentimental for 1937, but not a depressing experience. It was a moving, uplifting one, to see the love of an old couple played brilliantly by Belulah Bondi and Victor Moore. Senior love has probably never been on screen better, apologies to Michael Haneke ('Amour').
The best parts in the movie are in the second half, when Bondi and Moore are together. When they are separated in the first half, the movie takes an increasingly cynical view at early 20th century youth that felt forced. I wish the adult children were more fleshed out characters (maybe if…
Make Way For Tomorrow is a film about the elderly, it's about life long love, the uncertainty of what lies in the future and how long that future my last and it's about the way in which we treat the elderly - often selfishly considering them an inconvenience to our own lives. It is one of the most moving films I have seen in a long time, as Orson Welles once said, "Oh my God that's the saddest movie ever made", it still today remains such a sad tale, but it's not just sad, it's beautifully moving as a tribute to life long love as well, for all the moments where we are struck by the sadness of two life…
The last half hour is pure cinema bliss.
One of the all-time great endings and what leads up to it is no slouch either. A master treatise on humanism and the oft forgotten value of the elderly. Elegantly scripted, warmly acted (always great to see Thomas Mitchell) and Leo McCarey doing the finest work of his career moving us along while managing to sympathize with everyone (even the jerks). Who dares to put this on a triple bill with Tokyo Story and Love is Strange?
At a family reunion, two parents reveal they will be homeless after their house forecloses when the old, sick father can't earn a job; the family bickers about who will take them in. One of the all-time greatest films ever made. This was really due for a rewatch years ago, but now's as great a time as ever to see it. Victor Moore and Beulah Bondi are so natural that it almost feels as if it were an Italian neorealist classic. The supporting cast is stacked, but the actors who contribute the most to the production are Thomas Mitchell and Fay Bainter, especially the latter who plays a very irritated daughter-in-law whom I completely sympathize with and despise at the…
Life is a bitch.
In 1939, Leo McCarey won the Academy Award for Best Director for his work on THE AWFUL TRUTH, starring Cary Grant. After accepting the award, he gave a speech of Hollywood legend. "I want to thank the Academy for this wonderful honor. Unfortunately, you gave it to me for the wrong movie."
The movie to which he referred was MAKE WAY FOR TOMORROW, a bittersweet drama about a septuagenarian couple who are split up by their children when hard times cause mom and dad to lose their home to foreclosure. Victor Moore stars as Bart Cooper, who moves in with eldest daughter Cora (Elisabeth Risdon); Beulah Bondi plays Lucy, who moves in with eldest son, George (Richard Mitchell). The difficulty…
One of R.E.'s "Great Films".
Despite the dance sequence being a masterclass in how to employ a zoom lens, and McCarey deserving some credit for his contributions to the aesthetics of deep focus, I found it rather sentimental toward the end to the point that I couldn't comfortably leave my rating at a solid 4.5/5.
Impresionante. Dolorosa. Delicada. Sincera. Que maravillosa historia. Que amor y que verdad.
Followbruary Film #1 - Chris Salt's Favourite
I started off with this one as I’ve had it sitting on my hard drive for months after reading a few good reviews. I can see why the film is worthy of praise but it’s not one I could say I enjoyed. While the story of a poor family struggling to make do in an economic downturn may be relevant to today’s audience, there’s no escaping the fact that Make Way Tomorrow is from a different era.
The word that kept coming to mind as I watched was ‘Gentle.’ I really struggled to keep my attention fixed on the screen as the minutes trickled by and actually fell asleep around the half hour…
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…