Intruder in the dust 1949 - A tough, unsentimental, affecting message movie

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IMDB rating: 7,7

Director: Clarence Brown
Main Cast: David Brian, Claude Jarman Jr., Juano Hernandez, Porter Hall, Elizabeth Patterson

"Intruder in the Dust is one of the best of Hollywood's postwar 'racial tolerance' cycle - a cycle that would come to an abrupt end in the politically paranoid 1950s. As the decade drew to a close, 1949 brought four major American films that dealt with racial prejudice; while Pinky and Home of the Brave received more attention in the press and at the box office, and Lost Boundaries developed something of a cult following, Intruder in the Dust was at once the best and most underrated of this cycle about 'the Negro Problem'. Based on a novel by William Faulkner, the film takes place in a small Mississippi town (it was filmed on location in and around Oxford, MS).
Juano Hernandez plays an African-American landowner who is arrested on a murder charge. Resentful of Hernandez' industriousness, the white townsfolk are eager to see him hang. David Brian, the attorney uncle of a young white boy (Claude Jarman Jr.) who has befriended Hernandez, agrees to take the accused man's case. His job is complicated by the lynch-mob mentality fomented by the dead man's brother (Charles Kemper) and Hernandez' refusal to reveal the name of the man he suspects as the killer. The hostile atmosphere reaches a fever pitch, but justice is ultimately served.
Intruder in the Dust stands out among other films of its period with its refusal to stoop to any form of condescension towards its black characters or to rationalize the behavior of the bigots. Though produced by MGM, the film wisely displays none of that studio's patented glossiness, opting instead for a dusty, sun-scorched, fleabitten veneer that enhances the film's basic realism. "- www.allmovie.com

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National Velvet 1944 - A wonderful classic for the whole family

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IMDB rating: 7,4

Director: Clarence Brown
Main Cast: Mickey Rooney, Elizabeth Taylor, Donald Crisp, Anne Revere, Angela Lansbury

"One of the most beloved children's classics ever filmed, National Velvet holds up almost as well today as it did in 1944. True, modern audiences are much more familiar with elements of the story now, and they may find a bit of the plotting somewhat farfetched; but most audiences will be caught up in the sheer excitement and good will of Velvet that they will gladly overlook any shortcomings. There's so much to praise in Velvet that it's hard to know where to begin - or would be, if it weren't for the fact that the climactic event remains the best horse racing sequence ever put on film. It's gripping, spine tingling and just plain fun, a sequence that will have viewers on the edge of their seats and ready to stand and cheer. Credit for this spectacular segment is due equally to director Clarence Brown, cinematographer Leonard Smith, editor Robert J. Kern and composer Herbert Stothart, all of whom work together seamlessly. Brown's work throughout is nearly flawless, drawing forth sterling performances from his cast, capturing every highlight of the screenplay and telling the story with keen attention to pacing and cinematic detail. Elizabeth Taylor is sheer magic as Velvet, Mickey Rooney gives a wonderful, understated performance, Angela Lansbury is lovely and Anne Revere makes the absolute most of every moment, winning a Best Supporting Actress Oscar for her performance. Then there's Pi, one of the most beautiful creatures ever put on the screen, a force of nature that is irresistible. Velvet is a dream of a movie - one from which you won't want to awaken. National Velvet is based on the novel by Enid Bagnold. " - www.allmovie.com

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Night flight 1933 - An all star cast aviation spectacle

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IMDB rating: 6,4

Director: Clarence Brown
Main Cast: John Barrymore, Helen Hayes, Clark Gable, Lionel Barrymore, Robert Montgomery, Myrna Loy, William Gargan, C. Henry Gordon, Leslie Fenton, Irving Pichel

"This long-forgotten, long-unavailable MGM aviation drama (produced under the aegis of David O. Selznick) is an adaptation of flier-turned-belletrist Antoine de Saint-Exupery's slim 1931 novel of the same name, which dramatizes the adventures of the South American night mail aviation service in the early years of the 20th century. The studio enlisted a top-drawer cast for this one, including Clark Gable, Robert Montgomery, Myrna Loy, brothers John and Lionel Barrymore (in their final onscreen appearance together), and Helen Hayes. Selznick and his brass were obviously hoping to produce another hit on par with Wings or Grand Hotel, and thus pinned empyrean hopes on the novella. To say that the adaptation didn't live up to their box office expectations would be an understatement, and probably explains the obscurity into which the picture sank. But all told, this film represents a happy, eminently enjoyable surprise. Scriptwriter Oliver H.P. Garret builds the drama around a plot contrivance not found in the original text - the attempts of the said pilots to deliver a precious vaccine to the infantile paralysis unit at the City Hospital in Rio de Janeiro, before one child in particular expires. De Saint-Exupery purists may scoff, but this ingenious narrative addition works beautifully - it functions as the hook necessary to sustain suspense in the audience's mind and maintain an involving through-line. All of the actors do stellar work here, particularly Gable and Montgomery (both cast as noble pilots), who give the picture the star power and the dramatic weight that it needs. A number of scenes feel stilted and overly theatrical, and others threaten to interrupt the film's momentum just a bit, but for the most part, what's onscreen is both involving and exciting. The film doesn't recreate de Saint-Exupery's majestic scenic tableaux - how could it? - and director Clarence Brown relies too heavily on 'wipes' to segue from one aerial shot to another. But the film compensates with special effects that feel downright revolutionary for the period in question, and that anticipate Howard Hawks's Only Angels Have Wings - including gorgeous, convincing shots of aircraft during nocturnal voyages (done with miniatures) and a magnificent storm sequence, set in the Andes and lifted directly from the text. Of greatest curiosity are the period images of such cities as Rio de Janeiro, Brazil and Santiago, Chile, presented as sterile-white, WASP-staffed utopian communities with nothing but the most luxurious surroundings. Why the absence of Hispanic citizens, and why the careful resistance to any signs of local squalor? (It may simply be a reflection on the nativism of the era that produced this film). The movie suffers just a bit from one of the most risible final shots of any film in memory (with 'ghost pilots' emerging from the sea and soaring up to the heavens); until then it's an engrossing entertainment and does justice to its source material." - www.allmovie.com

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Emma 1932 - Another sterling performance from Dressler

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IMDB rating: 7,1

Director: Clarence Brown
Main Cast: Marie Dressler, Richard Cromwell, Jean Hersholt, Myrna Loy, John Miljan

"Emma is a turn-of-the-century domestic drama completely dominated by star Marie Dressler. She plays the maid of an upper middle class family, keeping her wits about her as her employers suffer crisis after crisis. When the master of the house (Jean Hersholt), a prominent inventor, is widowed, he proposes marriage to Emma. Shortly afterward, Hersholt dies, and Emma, who has married 'out of her class', is accused of murder by Hersholt's jealous children. Cleared of the accusation, Emma turns over her inheritance to the selfish children and heads off to work for another family, once again making the best of any and all bad situations.
At the time she made this film, Marie Dressler was Hollywood's greatest star. An unlikely celebrity sensation, with her homely face and shapeless body, Dressler was nonetheless adored by the American public who could sense her basic decency and goodness. For a few brief years she became the nation's grandma, someone with whom the public could feel completely comfortable. Dressler seemed to typify the virtues of hard work and plainspoken honesty - attributes which counted for much in the Great Depression's darkest days.
Firm support is given by gentle Jean Hersholt as Dressler's kindly employer. As his son, Richard Cromwell gives an energetic performance. Lovely Myrna Loy, not-quite-yet a star, is strangely awkward as Hersholt's spiteful daughter. John Miljan is effective in the role of a relentless District Attorney." - www.allmovie.com

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A free soul 1931 - Lionel Barrymore gives an Oscar winning acting lesson

IMDB link: http://www.imdb.com/title/tt0021885/?ref_=fn_al_tt_1
IMDB rating: 6,7

Director: Clarence Brown
Main Cast: Norma Shearer, Leslie Howard, Lionel Barrymore, James Gleason, Clark Gable

"In its day, A Free Soul was powerful stuff, and if the passing of time has diluted its impact, it still carries enough of a punch to make it worth catching today. An example of the kind of adult issues that pre-Code films often explored, Soul is daring for its portrayal of a single woman embroiled in what is clearly a sexual affair with a man; unfortunately, it dresses up this interesting situation in a melodramatic screenplay that never seems to know when to stop. This keeps Soul from being great drama - but it doesn't keep it from being quite entertaining. Clarence Brown provides highly appropriate direction; he embraces (and believes in) the melodrama without letting it get too far out of hand. Brown is blessed with a stellar cast, especially Norma Shearer. The actress is in excellent form and gives a very well modulated performance that allows her to pull out all the stops when appropriate, but also to underplay notably in several key moments. Lionel Barrymore's Oscar-winning performance is slightly more uneven - it's a bit mannered early on and always seems to be channeling Frank Morgan - but it's sensational in the climactic sequences, when it really matters. Clark Gable is a marvelous heel, and Leslie Howard appropriately noble and self-sacrificing. Despite its not inconsiderable flaws, A Free Soul makes for entertaining viewing." - http://www.allmovie.com/movie/a-free-soul-v18556/

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Possessed 1931 - Mature pre-code Hollywood drama

IMDB link: http://www.imdb.com/title/tt0022276/?ref_=fn_tt_tt_15
IMDB rating: 6,7

Director: Clarence Brown
Main Cast: Joan Crawford, Clark Gable, Wallace Ford, Richard 'Skeets' Gallagher, Marjorie White, John Miljan

"Clarence Brown creates an effective melodrama that interestingly examines some of the social mores and topical concerns of the 1930's. The position of women in society is the key theme addressed by the competent director, with Crawford's portrayal being both realistic and touching. Crawford makes great use of the close-up to express inner thoughts and feelings, suggesting a whole range of emotions when she overhears Gable speak of his reluctance towards marriage. Crawford is the film's best asset and she does some great work here, providing the most memorable scenes in the picture.
The film's other triumph is the slick narrative economy employed by Brown. Possessed clocks in at around 73 minutes and is a very efficiently-produced film. MGM's trademark opulent production design suits the penthouse scenes well, with Crawford looking terrific in jewels and well-cut Adrian dresses. Cinematographer Oliver T. Marsh provides some inspired visual style in an early scene that sees Marian standing in awe at the luxury and splendor passing by her on the train. The juxtaposition of Marian's two lifestyles in this short sequence is a nice effect.
The film is let down by Gable's distinct blandness and an average script. Gable conspicuously lacks presence alongside Crawford in their scenes and his dialogue delivery is very wooden here but Crawford manages to cover for him in their romantic scenes, putting in a top-drawer 'cover all bases' performance.
Based on a 1920 play by Edgar Selwyn, Possessed had been filmed previously in 1924 as The Mirage, a vehicle for silent star Florence Vidor."

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Romance 1930 - A romance with Garbo for all time

IMDB link: http://www.imdb.com/title/tt0021310/?ref_=fn_al_tt_9
IMDB rating: 6,1

Director: Clarence Brown
Main Cast: Greta Garbo, Lewis Stone, Gavin Gordon, Elliott Nugent

"Although Greta Garbo in her 17 year-long Hollywood career (1925-1941) made 7 movies with the director Clarence Brown, the ones that have remained popular till our modern era of technical effects and shallow actions are only three: Flesh and the devil (1926), Anna Christie (1930) and Ana Karenina (1935). Indeed, those movies deserve appreciation since each of them carries something special deeply associated with certain moments in both MGM's history and Garbo's career. Yet, the early talkie that Garbo made soon after her introduction to sound is almost a forgotten, yet a very beautiful movie, Romance.
It is a film loosely based on the life of the opera singer Lina Cavalieri (1874-1944), a film in which, perhaps, not much happens but it offers everything that may be considered subtle, genuine, touching and beautiful, everything that may supply us with an affectionate journey into the old days of cinema when the cast were a true elite of artists.
So this time Greta Garbo stars as an Italian singer who seduces a young priest into falling for her. She admits that she had been the kept woman of an older man and when she returns to her former lover, her visit is misinterpreted by the priest as a liaison.
Garbo was Oscar nominated for this role in 1930 along with her role of Anna Christie, but lost to Norma Shearer."

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Anna Christie 1930 - Garbo's first talking picture

IMDB link: http://www.imdb.com/title/tt0020641/?ref_=fn_al_tt_1
IMDB rating: 7,0

Director: Clarence Brown
Main Cast: Greta Garbo, Charles Bickford, Marie Dressler, George F. Marion

"Accompanied by one of the most successful advertising campaigns in Hollywood history, Greta Garbo made her 'talking picture' debut in this carefully chosen vehicle, the second screen version of Eugene O'Neill's 1922 playGeorge F. Marion, who originated the role of Chris on Broadway back in 1922, makes Anna's old seadog of a father much more than a vaudeville turn and Marie Dressler deservedly won recognition for her downtrodden old sod of a waterfront floozy. As for Garbo herself, she makes Eugene O'Neill's heroine unforgettably her own." - http://www.allmovie.com/movie/anna-christie-v2512/

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The rains came 1939 - Exotic melodrama with a great spectacle

IMDB link: http://www.imdb.com/title/tt0031835/?ref_=fn_al_tt_1
IMDB rating: 7,0

Director: Clarence Brown
Main Cast: Myrna Loy, Tyrone Power, George Brent, Brenda Joyce, Nigel Bruce, Maria Ouspenskaya, Joseph Schildkraut, Mary Nash, Jane Darwell

"Devotees of Louis Bromfield's novel that provides the basis for The Rains Came - even any such devotees there still are - will be disappointed by the film version of the novel, but they're likely to be the only ones. True, Rains simplifies the book in the most basic way, stripping it of its social context and commentary and leaving little more than the love story and the plot outline. But Rains works like gangbusters on film, precisely because of this treatment. Modern audiences, more accustomed to this sort of tragic romance, will perhaps find it a bit familiar, but they'll be swept up in the story and won over by the struggle of Man against Nature. They may be less won over by the casting of white-only performers in the lead Indian roles, but this was standard practice at the time. As the chief 'Indian', Tyrone Power turns in a delicious performance, the kind of movie star turn that the film requires. Even better is the delectable Myrna Loy, back in her old 'not-so-good girl' territory and having a blast, while at the same time spreading her special celluloid magic over the whole proceedings. George Brent is so-so, but young Brenda Joyce is vivaciously refreshing and old Nigel Bruce gets a chance to stretch beyond his traditional Doctor Watson persona and does so notably. There's also a nice, characterful turn from Maria Ouspenskaya as the Maharini. Clarence Brown directs with assurance and flair, and he makes the most of the earthquake/flood sequence that is the film's undeniable highlight. This is truly spectacular and impresses even today, in the world of CGI effects. Thrilling and engaging, Rains is dynamite fun." - http://www.allmovie.com/movie/the-rains-came-v107209

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