best film: The Blue Angel from von Sternberg. Von Sternberg is as married to mise-en-scene as Renoir or Ophuls is to camera movement or Eisenstein is to montage and editing. The Blue Angel has a simple (yet tragically haunting) narrative but the busy mise-en-scene—using set pieces to divide and design the frame– is really unparalleled. This is von Sternberg’s greatest achievement.
most underrated: There are three options here. Both of von Sternberg’s 1930’s masterpieces fall outside of the TSPDT top 500 and that’s shameful—incorrect— also, Hitchcock’s Murder! needs to be rediscovered at this point as well.
- It’s hard to believe that this is Hitchcock’s tenth feature- a crime drama set in a theater (something he’d do again often in 39 steps, Stage Freight)—it’s one of the best films of 1930 and one of the best films of Hitchcock’s English period in the 30’s
- First talking role, and a strong one, for Herbert Marhsall (The Little Foxes, The Letter)
- The film starts with an absolute bang. The first 10 minutes of the film are on their way to being a masterpiece, we have an opening tracking shot of people coming out of windows after hearing screaming, we have the crime scene shown in prolonged actor hold, almost like a freeze frame, we have an experimental scene/shot of the camera following a woman walking back and forth as she’s making tea and a tracking shot dollying out of a prison via the bars…
- …and then the movie slows to a stylistic crawl and turns into a who-done-it and sort of a 12 Angry Men combination
- There’s a flaw here with the church bells from the clock ringing while they show the clock at like 611
- Heavy on guilt and wrongfully accused- Hitchcock auteuristic trademarks
- How do you show a guilty man without words? Yes, acting is key but that’s not it- Hitchcock shoots the impossible to shoot
- Big set piece finale which is another Hitchcock trademark—this one is a circus with a high trapeze
- Great scene and editing foreshadows noose hanging
- Highly recommend- top 10 of the ear quality but we really have two films- the avant-garde first 10 minutes are well on their way to being an all-timer and then we have a simple recommend movie for the remainder
most overrated: Bunuel’s L’Age d’Or is #140 on the TSPDT consensus list and the #1 film for 1930. I’m a big admirer of Bunuel’s work- but not this one particularly- it is well outside of my top 500. However, I’ve only seen it once and look forward to the rewatch—I hope I’m wrong.
gem I want to spotlight: Hell’s Angels from Howard Hughes. The production of the film is more famous now than the actual film (brilliantly captured in Scorsese’s The Aviator). Howard Hughes was probably the most famous man in the world (along with Chaplin and Babe Ruth maybe) the record expense budget, the endless reshooting, etc—but what gets lost is that it’s a very good film and several of the sequences are incredibly beautiful. The action sequences in general are superb but the duel sequence, in particular, is one of the best of 1930.
trends and notables: 1930 is absolutely dominated by Joseph von Sternberg (and his muse Marlene Dietrich) as his two films that are #1 and #2 of the year here in 1930. Maybe someone can correct me but I don’t remember a year when a director was competing against himself with the two best films of the year. He would probably be second only to Renoir in terms of great auteurs of the 1930’s. This is really the end of the silent era. As mentioned Hell’s Angels was reshot with sound—only Chaplin would carry the banner forward really into 1931 with City Lights and beyond (baffling to think of Modern Times coming out another 6 years later in 1936—shows just how much clout and power Chaplin had). We have the first Marx Brothers archiveable film in 1930 (no coincidence it is when sound is basically completely out and Keaton gone). Overall it is another weak year as the stock market crash and advent/adjustment to sound takes its toll. Overall, we’d still only have 11 archiveable films – the next year- 1931- we’d be at 26 and remain at 20+ archiveable films from now on.
best performance male: It is Emil Jannings by a landslide in The Blue Angel. I’d listen to arguments for The Last Laugh– but I’d give the edge to Jannings’ work here as his all-time best performance. I could change my mind with another viewing but I’m not ready to give Gary Cooper a mention here yet. For decades Cooper is given many of the best roles- and there simply aren’t many times where he makes the most of them (High Noon the obvious exception).
best performance female: Marlene Dietrich blows everybody else away in 1930- she’s the easy choice and her work in both The Blue Angel and Morocco are more than worthy of singling out. Both films are about an unhealthy obsession and sexual desire (my god are they fantastically similar). In Morocco she plays the victim, and in The Blue Angel it is Jannings who is destroyed by his lust for Dietrich.
- The Blue Angel
- All Quiet on the Western Front
- Hell’s Angels
- Under the Roofs of Paris
- L’Age d’Or
- City Girl
- Animal Crackers
- The Big House
Archives, Directors, and Grades
|All Quiet on the Western Front- Milestone||MS|
|Animal Crackers- Heerman||R|
|Anna Christie- C. Brown,|
|City Girl- Murnau||R|
|Hell’s Angels- H. Hughes||HR|
|L’Age d’Or- Bunuel||HR|
|Morocco- von Sternberg||MP|
|Murder! – Hitchcock||HR|
|The Big House- George W. Hill||R|
|The Blue Angel- von Sternberg||MP|
|Under the Roofs of Paris- Clair||HR|
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-See- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
Bergman vs Bergman wild Strawberries and seventh seal, he is number one is the biggest owner of a year in history, then he would be Sternberg and in third Coppola, dubious honorable mention Fleming
@Aldo– great years by these directors of course- and masterpieces– but I still think my comment stands for von Sternberg– at least for me. Fleming had a magnificent year but 1939 is Rules of the Game, for 1957 I have Paths of Glory ahead of Wild Strawberries and then for 1974 of course The Conversation is sublime– but it isn’t quite Chinatown. So von Sternberg would still own the only 1-2 best films of the year as far as I can tell/remember/find. Not a big deal really as 1930 wasn’t as competitive as 1939, 1957 or 1974– more just something I noticed when putting the page together.
I’m pretty sure you have 1. Seventh seal and 2. Wild strawberries in 1957, TSPDT also has them like this, i would also have them like this
@Aldo- nope- I have Paths of Glory ahead- http://thecinemaarchives.com/2019/03/01/the-best-films-of-the-decade-the-1950s/ did this in 2019 and the 1957 page in 2017. Not a big deal- they’re brilliant films– splitting hairs
I’m just saying, I can’t really speak about 1957 until I see Paths of Glory (though I’m not sure why I’m even talking about that when I have Kalatozov’s film ahead of both of Bergman’s) but in 1974 I think The Conversation is indeed the year’s second-best film, better than Polanski’s or Fassbinder’s.
This website is amazing. Good work!
Drake, curious if you have seen, or have plans to see The Blood of a Poet from Cocteau. Produced by the same guy and it seems they are sort of considered the 400 blows/breathless of that surrealist movement
Its very weird but your used to that im sure. I think you would like it more than lage dor… has more photographic beauty and cool setpieces and imagery. Id guess you would have it HR atleast probably a MS, and hey its only 50 minutes if you can find it
*meant to say its produced by the same guy as Lage Dor
Has anyone caught the 2022 version All Quiet on the Western Front?
@James – Yes I have, I am not familiar with the source material but my friend who is tells me the 2022 film deviates from the book and delivers some key scenes with less impact. Doesn’t bother me.
I have given it a HR grade which I feel is the ceiling. The opening is pretty stunning, some Revenant-like shots of the forest, then a dissolve edit then a long shot through a battle all before the title appears. The rest of the film is the harrowing war experience with so other great (but lesser) cinematic moments.
There’s a side-plot of the end of war negotiations which I disliked, could have trimmed that off.
@Harry – thanks for the reply, I may check it out at some point, I did enjoy the novel but have not seen the orginal 1930 version