La fille du puisatier (The well-digger's daughter) 1940 - A lesser-known Pagnol movie with wonderful performances

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IMDB rating: 7,4

Director: Marcel Pagnol
Main Cast: Raimu, Fernandel, Josette Day

"The Well-Digger's Daughter served to reunite star Raimu and writer/director Marcel Pagnol, who'd earlier scored an international hit with the 'Fanny trilogy' (Fanny, Marius, Cesar). The title character played by Josette Day, is impregnated by aviator George Gray. Her father, Raimu, orders Josette out of the house so that her younger sisters won't be likewise 'corrupted'. There's many a moment of pathos and hilarity before Raimu realizes the folly of his behavior. Filmed in 1940, just after France's acquiescence to their Nazi conquerors, The Well-Digger's Daughter didn't make it to the US until 1946." - www.allmovie.com

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The bank dick 1940 - A very funny all time classic

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IMDB rating: 7,4

Director: Edward F. Cline
Main Cast: W. C. Fields, Cora Witherspoon, Una Merkel

"W. C. Fields plays Egbert Souse, a bibulous denizen of Lompoc who supports his family by winning radio contests. When a fleeing bank robber is knocked cold upon tripping over the park bench where Egbert sits, Souse is hailed as a hero and offered the job of bank guard. The next day, he is approached by one J. Frothingham Waterbury (Russell Hicks), who offers to sell Egbert shares in the Beefsteak Mines. Souse raises the necessary money by convincing bank clerk Og Oggilby (Grady Sutton), the fiance of Egbert's daughter Myrtle (Una Merkel), to 'borrow' some funds from the bank; it isn't really embezzling, explains Egbert, because the mine is bound to pay off. Unfortunately, bank examiner J. Pinkerton Snoopington (Franklin Pangborn) comes calling, spelling possible trouble for Souse.
The Bank Dick is perhaps W. C. Fields' best movie. Despite a scant 72-minute running time, it breezes through enough plot for ten lesser films, managing to build and double back on itself to a satisfying conclusion. The humor is both physical and intellectual. Fields was among the innovators of early sound films in using contemporary cultural references; yet the movie is not so tied to its era that its references have become obscure." - www.allmovie.com

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Pride and prejudice 1940 - Jane Austen in the Hollywood fashion

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IMDB rating: 7,5

Director: Robert Z. Leonard
Main Cast: Greer Garson, Laurence Olivier, Maureen O'Sullivan, Ann Rutherford, Marsha Hunt, Heather Angel, Mary Boland, Edmund Gwenn

"Pride and Prejudice is a moderately faithful re-telling of Jane Austen's best-known novel. The protagonists are appropriately composed in the pre-Victorian England setting, championing Austen's rebellion against what she saw as the excessive emotionalism and romantic world view of the literature of her time. Austen's aim of puncturing holes in the snootiness of upper-middle class figures is retained in Aldous Huxley's screenplay and Robert Leonard's occasionally stiff direction. The unlikely romance of the leads, played conventionally but effectively by the attractive pair of Laurence Olivier and Greer Garson, evolves from contempt to understanding to affection, retaining a modern appeal in its focus on illusory first impressions and the follies of personal pride and class prejudice. Though Austen's novel was set in 1813, the year of its publication, the film version takes place in 1835, reportedly so as to take advantage of the more attractive costume designs of that period. Not surprisingly, a few changes had to be made to mollify the Hollywood censors (eager to find offense in the most innocent of material): the most notable is the character of Mr. Collins (Melville Cooper), transformed from the book's hypocritical clergyman to the film's standard-issue opportunist." - www.allmovie.com

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Pinocchio 1940 - A lesson in honesty

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IMDB rating: 7,6

Directors: Norman Ferguson, T. Hee, Wilfred Jackson, Jack Kinney, Hamilton Luske, Bill Roberts, Ben Sherpsteen

"Though only Disney's second feature-length cartoon, Pinocchio is still celebrated as one of the company's greatest achievements for its Academy Award-winning music, its humor, its beauty, and, most of all, its production value. Determined to make an animated film that improved upon its predecessor, Snow White and the Seven Dwarfs (1937), Walt Disney employed over 750 staff members on Pinocchio and worked them relentlessly for several years. Technicians developed an enhanced multiplane camera that could dolly in and out of an animated scene (similar to live-action photography), as opposed to Snow White's vertical method of shooting. Animators pioneered using glass plates over the animation to create a realistic underwater look for the scene in the ocean, and established a technique called 'the blend' to give the two-dimensional animation some depth. Twelve artists labored for 18 months to design the character of Pinocchio alone, and the perfectionist Walt Disney is rumored to have thrown out over 2,300 feet of footage (at least five months of work) because it did not fit his vision. Pinocchio's box-office returns did not surpass Snow White's, but its ingenuity and polish impressed critics and further established Disney as an artistic force." - www.allmovie.com

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The thief of Bagdad 1940 - An enchanting fairy tale for the whole family

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IMDB rating: 7,7

Directors: Ludwig Berger, Michael Powell, Tim Whelan (Alexander Korda, Zoltan Korda, William Cameron Menzies)
Main Cast: Conrad Veidt, Sabu, June Duprez, John Justin, Rex Ingram

"In ancient Bagdad, Abu, a good-natured young thief (Sabu), befriends the deposed king Ahmad (John Justin) as both are imprisoned in the palace dungeon, awaiting execution under orders from the evil vizier Jaffar (Conrad Veidt), who has seized the throne. But they escape and make their way to Basra, where Ahmad, now living as a beggar, meets and falls in love with the Princess (June Duprez), who has been betrothed by her father the Sultan (Miles Malleson, who also wrote the screenplay) to Jaffar. Their fight for the love of the Princess triggers a series of adventures for the young Abu that brings him halfway around the world and into mystical realms with help from a towering genie (Rex Ingram), brushing up against the gods and transforming the little thief into a hero in the process. Along the way, we encounter a wide array of characters, some of them charming, such as the gentle Old King (Morton Selten), and some sinister, such as the devious Halima (Mary Morris), plus a range of color and lushly designed sets and set pieces (and special effects) that still dazzle the eye seven decades later. And it all leads to an amazing and suspenseful ride on a magic carpet, and a race against time to save the king and his beloved.
The Thief of Bagdad is one of those rare fantasy films that has only improved with age as a dazzling example of the screencraft of the era. If seams and joins show on some of the special-effects work, it doesn't hurt, because we accept the film as a fantasy tale woven before our eyes; just as no one minds the brush-strokes on a truly great painting. It has endured as an artifact of a lost world of innocence and wonder - Thief of Bagdad was the last major movie started in England before the outbreak of the Second World War, and the last fantasy film released before America's entry into World War II. And, like Frank Capra's Lost Horizon (1937) and Mervyn LeRoy's production of The Wizard of Oz (1939), the movie speaks from a time before A-bombs, air-raids, and concentration camps, and as such, provided a two-hour escape for those seeking refuge from the horrors of war, which still resonates seven decades later." - www.allmovie.com

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The letter 1940 - Bette Davis in one of her nastiest roles

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IMDB rating: 7,8

Director: William Wyler
Main Cast: Bette Davis, Herbert Marshall, James Stephenson, Gale Sondergaard, Cecil Kellaway

"The Letter combines William Wyler's smooth direction and a fine performance from Bette Davis into one of the screen's best melodramas. The film is distinguished by its lush production values, including Tony Gaudio's cinematography and costume gowns by Orry-Kelly, but mostly it is Davis who carries the film. She is ably assisted by her co-stars, particularly Herbert Marshall as her husband and James Stephenson as her lawyer. W. Somerset Maugham's source novel provides a strong framework, which had been filmed before in 1929, with Marshall as the murdered lover. Although the Wyler version scored an impressive seven Oscar nominations, it went home empty-handed." - www.allmovie.com

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Fantasia 1940 - Combination of animation and classical music

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IMDB rating: 7,8

Directors: Norman Ferguson, James Algar, Samuel Armstrong, Ford Beebe Jr., Jim Handley, T. Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, Paul Satterfield, Ben Sharpsteen

"Fantasia, Walt Disney's animated masterpiece of the 1940s, grew from a short-subject cartoon picturization of the Paul Dukas musical piece The Sorcerer's Apprentice. Mickey Mouse was starred in this eight-minute effort, while the orchestra was under the direction of Leopold Stokowski. Disney and Stokowski eventually decided that the notion of marrying classical music with animation was too good to confine to a mere short subject; thus the notion was expanded into a two-hour feature, incorporating seven musical selections and a bridging narration by music critic Deems Taylor. The first piece, Bach's 'Toccata and Fugue in D Minor', was used to underscore a series of abstract images. The next selection, Tchaikovsky's 'Nutcracker Suite', is performed by dancing wood-sprites, mushrooms, flowers, goldfish, thistles, milkweeds and frost fairies. The Mickey Mouse version of 'Sorcerer's Apprentice' is next, followed by Stravinsky's 'Rite of Spring', which serves as leitmotif for the story of the creation of the world, replete with dinosaurs and volcanoes. After a brief jam session involving the live-action musicians comes Beethoven's 'Pastorale Symphony', enacted against a Greek-mythology tapestry by centaurs, unicorns, cupids and a besotted Bacchus. Ponchielli's 'Dance of the Hours' is performed by a Corps de Ballet consisting of hippos, ostriches and alligators. The program comes to a conclusion with a fearsome visualization of Mussorgsky's 'Night on Bald Mountain', dominated by the black god Tchernobog (referred to in the pencil tests as "Yensid", which is guess-what spelled backwards); this study of the 'sacred and profane' segues into a reverent rendition of Schubert's 'Ave Maria'. Originally, Debussy's 'Clair de Lune' was part of the film, but was cut from the final release print; also cut, due to budgetary considerations, was Disney's intention of issuing an annual 'update' of Fantasia with new musical highlights and animated sequences. A box-office disappointment upon its first release (due partly to Disney's notion of releasing the film in an early stereophonic-sound process which few theatres could accommodate), Fantasia eventually recouped its cost in its many reissues. A sequel, Fantasia 2000, was released in theaters in 1999." - www.allmovie.com

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The shop around the corner 1940 - Charming Hungarian story wrapped up with an American ribbon

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IMDB rating: 8,1

Director: Ernst Lubitsch
Main Cast: Margaret Sullavan, James Stewart, Frank Morgan, Joseph Schildkraut

"The Shop Around the Corner is adapted from the Hungarian play by Nikolaus (Miklos) Laszlo. The movie is one of the screen's best romantic comedies, and an excellent example of the subtle humor and wry character interplay that marked the films of director Ernst Lubitsch. The plot - likeable people (James Stewart and Margaret Sullavan) who are antagonists in real life but also anonymous pen pals are infatuated with each other - is ripe with comic potential, but Lubitsch takes the material further, including several bittersweet subplots that give the film richness and texture. The supporting performances are first-rate, particularly Frank Morgan and Joseph Schildkraut, and the film has the classy look that was a hallmark of MGM films of this era. Directed with comic delicacy by Lubitsch, this was later remade in 1949 as In the Good Old Summertime, and in 1998 as You've Got Mail. It was also musicalized as the 1963 Broadway production She Loves Me." - www.allmovie.com

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The Philadelphia story 1940 - Hepburn's spectacular comeback, Stewart's Academy Award

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IMDB rating: 8,1

Director: George Cukor
Main Cast: Cary Grant, Katharine Hepburn, James Stewart, Ruth Hussey, John Howard, Roland Young

"Playwright Philip Barry reportedly based the central character of The Philadelphia Story on Katharine Hepburn's brittle public persona, so it should be little surprise that she plays the part so well. The film is a quick-witted translation of the play, essentially a parlor drama with witty, Oscar Wilde-like banter and glib repartee from nearly every actor. There are moments of rare beauty in the dialogue, even if director George Cukor rarely uses them to give the film more visual flair or energy. The story both spoofs and plays sly homage to Clifford Odets' earnest socialist dramas, in which kind-hearted socialites learn to love and admire the working poor - except that, in The Philadelphia Story, Hepburn turns her back on the working-class hero and returns to her own kind, the aristocratic, debonair, completely irresistible Cary Grant (who does a wonderful job of being... Cary Grant). The aristocrats are well-skewered by the delightful screenplay, and James Stewart is excellent as the cynical but smitten reporter, in a performance that won him his only Academy Award. Donald Ogden Stewart (no relation to Jimmy) also copped an Oscar for Best Adapted Screenplay. The Philadelphia Story was remade in 1956 with a Cole Porter musical score as High Society." - www.allmovie.com

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His girl Friday 1940 - One of the fastest talking movies ever made

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IMDB rating: 8,1

Director: Howard Hawks
Main Cast: Cary Grant, Rosalind Russell, Ralph Bellamy, Gene Lockhart

"The second screen version of the Ben Hecht/Charles MacArthur play The Front Page, His Girl Friday changed hard-driving newspaper reporter Hildy Johnson from a man to a woman, transforming the story into a scintillating battle of the sexes. It's doubtful that one could find a movie as fast-paced as Howard Hawks' His Girl Friday, and next-to-impossible to find a film of the period more laced with sexual electricity. Decades after its release, the comedy-thriller adapted from Ben Hecht and Charles MacArthur's play The Front Page holds up as a masterpiece of pacing and performance, and even manages a few healthy swipes at some of officialdom's sacred cows. At the time, His Girl Friday was also a piece of groundbreaking cinema for the rules it broke: Hawks' version added an element of sexual tension that was about the only thing missing from the original play and the 1931 film version, in which main characters Walter Burns and Hildy Johnson are men engaged in a symbiotic/exploitative professional relationship. Hawks transmuted Hildy Johnson into the persona of Rosalind Russell, who was entering her prime as an archetype of the ambitious, energetic woman. Coupled with Cary Grant's cheerful nonchalance as the manipulative editor Walter Burns, the material - which was fairly scintillating on its own terms - took on a fierce sexual edge that made the resulting film a 92-minute exercise in eroticism masquerading as a comic thriller. Russell may never have had a better role than Hildy Johnson; she became a screen symbol for the intelligent, aggressive female reporter, decades before Candice Bergen's star turn as television's Murphy Brown. Amid all of the jockeying for superiority, and the sparring between Grant and Russell - which, in many ways, anticipates the jousting between Humphrey Bogart and Lauren Bacall in Hawks' own The Big Sleep, made four years later - His Girl Friday found room to enhance some of the issues from the original play, including cynicism about government, the justice system and freedom of the press.
His Girl Friday may well be the fastest comedy of the 1930s, with kaleidoscope action, instantaneous plot twists, and overlapping dialogue. And if you listen closely, you'll hear a couple of 'in' jokes, one concerning Cary Grant's real name (Archie Leach), and another poking fun at Ralph Bellamy's patented 'poor sap' screen image. Subsequent versions of The Front Page included Billy Wilder's 1974 adaptation, which restored Hildy Johnson's manhood in the form of Jack Lemmon, and 1988's Switching Channels, which cast Burt Reynolds in the Walter Burns role and Kathleen Turner as the Hildy Johnson counterpart." - www.allmovie.com

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The grapes of wrath 1940 - A heartbreaking, compelling American classic

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IMDB rating: 8,2

Director: John Ford
Main Cast: Henry Fonda, Jane Darwell, John Carradine, Charley Grapewin, Dorris Bowdon

"John Ford's The Grapes of Wrath is arguably the director's greatest movie, and the rare Hollywood film superior to its literary source (a view shared by the novel's author, John Steinbeck). Indeed, it is the movie that sums up the impact of the Great Depression, at least on rural America, better than any other film of its time (and there were hundreds that tried, by everyone from Frank Capra to Preston Sturges). From the opening shot of Tom Joad's return to the ruined land where he grew up, the movie is a study of people whose dreams and hopes wither away like the drought-stricken crops. Yet Ford managed to make a movie that wasn't utterly pessimistic, despite its story and setting: the performers and script availed him of indomitable characters, convincingly portrayed, with the result that even the most cynical viewers were persuaded of Ford's artistic vision. Henry Fonda, who'd been an up-and-coming leading man, solidified his image as an upright hero with an almost mystical bent in his portrayal of Tom Joad; Jane Darwell became the archetypal rural matriarch; and even the bit players, such as Ward Bond and Grant Mitchell, got relatively rare opportunities to play against their usual types as beneficent characters. The movie became a strange case of fiction transcending fact, as Ford's images (photographed by the great cinematographer Gregg Toland) became more representative of the period than most documentary photography. Countless filmmakers have quoted from The Grapes of Wrath (there's a very funny audio-visual reference in Close Encounters of the Third Kind), and Ford himself never made a more compelling social statement despite several attempts (The Sun Shines Bright, Sergeant Rutledge, and others) over the next 20 years." - www.allmovie.com

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Rebecca 1940 - Hitchcock's hauntingly atmospheric masterpiece

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IMDB rating: 8,3

Director: Alfred Hitchcock
Main Cast: Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson, Nigel Bruce, Reginald Denny, C. Aubrey Smith, Gladys Cooper

"Producer David O. Selznick's 's second consecutive Best Picture (after the previous year's Gone With the Wind) and another enormously popular adaptation of a bestseller, this adaptation of Daphne du Maurier's novel was also the first American film directed by Alfred Hitchcock. Screenwriters Robert E. Sherwood and Joan Harrison recreated du Maurier's novel precisely, complete with the ideal casting of new star Laurence Olivier as brooding Maxim de Winter and insecure neophyte Joan Fontaine as his timid new bride. Rebecca displayed Hitchcock's unparalleled talent for ominous atmosphere, as he derived suspense from the clash between Fontaine and Judith Anderson's coldly sadistic, Rebecca-obsessed Mrs. Danvers. The elaborately appointed Manderley mansion became a character in itself, with Rebecca's expressively lit, diaphanously curtained bedroom, overlooking a suitably wild ocean, evoking her all-consuming absent presence.
Selznick's and Hitchcock's attention to detail paid off with eleven Oscar nominations, including Best Director, Best Actor, Best Actress, and Best Supporting Actress, and it won the top prize as well as an award for George Barnes's cinematography. David O. Selznick had the final cut of the picture, which was drastically altered from Hitchcock's original vision." - www.allmovie.com

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The great dictator 1940 - Chaplin's comment on fascism

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IMDB rating: 8,5

Director: Charles Chaplin
Main Cast: Charles Chaplin, Paulette Goddard, Jack Oakie, Reginald Gardiner

"After a five-year absence from movies, Charles Chaplin took on a dual role in his first full-length talking feature, famous for its comic attack on Nazi Germany (and Adolf Hitler in particular). The script was written before Hitler's invasion of Poland, and Chaplin subsequently noted that, had he known the scope of the evil perpetrated on Europe by the Nazis, he would never have made them the subject of this lampoon. Not as maniacally funny as Chaplin's classic comedies of the 1920s, The Great Dictator has more in common with Chaplin's later films, which were more lyrical in approach and more overt in their socio-political messages. In this case, the proselytising turned out to be prescient, as Hitler would soon prove Chaplin's concerns well-founded. This was one of very few films made in the West before World War II that dared to take on Hitler and Mussolini. Still, many critics found fault with Chaplin's approach, claiming that, by portraying German Nazis and Italian Fascists as schoolyard bullies and buffoons, Chaplin was cheapening the impact of their evil actions on millions of Europeans. Despite these criticisms, Chaplin's lampooning of Hitler is a moment of comic genius, complemented by Jack Oakie's ridiculously exaggerated portrayal of the Mussolini-like Italian fascist (nominated for an Academy Award as Best Supporting Actor). The Great Dictator is loosely structured, lacking the tight pace and sense of direction of Chaplin's best films: its long-winded concluding speech is the most egregious example. It was nominated for five Academy Awards, including Best Picture and Chaplin for Best Actor." - www.allmovie.com

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