Marian Martin: You don’t own me. Nobody does. My life belongs to me.
Al Manning: You’ll make one fine mess of it.
Marian Martin: It’ll still belong to me.
Marian’s mother: Don’t, Marian, you frighten me when you talk like that.
Marian Martin: If I were a man it wouldn’t frighten you! You’d think it was right for me to go out and get anything I could out of life, and use anything I had to get it. Why should men be so different? All they’ve got are their brains and they’re not afraid to use them. Well neither am I!
Milly: Burt, please don’t come back anymore.
Milly: I mean it! Don’t come back.
Burt: Can’t you–
Milly: Find a girl your own age. There must be plenty of them. It’s a big city.
Burt: Oh, now, listen, Milly–
Milly: You’re just lonesome. That’s all. Alright, I’m lonesome, too. But we can’t have loneliness pushing us together because it wouldn’t keep us together. Just loneliness reaching out for loneliness. I’m used to being alone.
Burt: That isn’t it at all!
Milly: If you knew a girl your own age, you wouldn’t want me and that isn’t fair. So please, before things get any more complicated–
Burt: But, Milly, I–
Milly: Please, I mean it!
This is such a strange film. It was MGM’s second feature-length musical and one of the studio’s earliest sound films. Unlike most MGM musicals, this film really has no overarching plot. Like the title suggests, it’s just a revue – a series of skits, songs and dance numbers by basically everyone on the MGM lot (the only major MGM stars of the era missing are Lon Chaney, Ramon Navarro and Greta Garbo). The film was only nominated for Best Picture and the other films up for the top prize that year were Alibi, In Old Arizona, The Patriot (now a lost film) and winner The Broadway Melody (also an MGM musical).
I just got this press release in the mail and am SO excited for this new DVD set. Three of them are films never before available on DVD and all four of them are newly remastered. After the cut I’ve included all the details, including special features.
Last year I watched 517 new-to-me films and I thought that number was ridiculously large. Well, this year not only did I reach that number, I surpassed it with an additional 600 new-to-me films, bringing my grand total to 1,117 new-to-me films for 2011. Don’t believe me? There’s a list after the cut of every film, broken down by month so you can see just exactly what films I watched. I don’t know how to explain how I watched so many films. I will say, it all started with a bet from CybelDP on Twitter. The rest, as they say, is history.
Some life information: for the first half of the year I worked as a substitute teacher (which meant only 1 to 2 days of work a week) and lived in the back of my parents’ house and watched Turner Classic Movies non-stop. From the end of May on I moved to San Francisco, where I now go to the Academy of Art University working towards an MFA in film editing. Yet, somehow amongst all that I managed to watch A LOT OF FRICKIN’ MOVIES. I also watched a lot of movies in theaters (thank you very much Castro Theatre) for the first time that were films I’d already seen. If you take a look at each of my monthly wrap-ups, I talk about what films those were.
Last year in my end of the year post I wrote about how many films with certain stars that I’d seen and stuff like that. The sheer volume of films I saw this year makes that task pretty difficult. I will say, I saw a lot of films featuring the following and if you want to try to look through my list and figure out exact numbers, be my guest: Orson Welles, Buster Keaton, James Cagney, Lew Ayres, Joseph Cotten, Joel McCrea, Glenn Ford, Henry Fonda, Ray Milland, Robert Taylor, Ryan O’Neal, Joan Blondell, Joan Crawford, Bette Davis and Jean Harlow. There are probably others whose filmographies I put giant dents in this year, but those are the ones that really stuck out. Speaking of filmographies, I also finished a handful of director filmographies this year: Woody Allen, Jim Jarmusch and Martin Scorsese. I also came close to finishing off Orson Welles, Stanley Kubrick and Elia Kazan and watched a bunch of films by Robert Altman, Peter Bogdanovich, Fritz Lang and John Ford. I also discovered a love for Westerns that I never knew I had (well, other than Clint Eastwood westerns, which I always loved). Oh, and I’ve only got 76 Best Picture nominated films left to see. That’s out of 487 films total, so I think I’m doing pretty well there.
One last thing before I reveal the list and my favorite new-to-me film of the year: in this past year I have felt more intellectually stimulated than I have ever felt before. Everyday I watched films and every film that I watched I gathered new information and my brain felt so alive and so active; it’s an amazing feeling for sure. I would go to bed thinking about the films I’d watched that day and the actors and directors and screenwriters that I learned about. I would think about Cedric Gibbons and Douglas Shearer and the amazing jobs they did at MGM and Irving Thalberg’s genius and how I wish I could be as prolific as Woody Allen. Then I would wake up the next day and start all over again and the more I watched the more everything fit together, the more I got from every film because I could see how it fit within the framework of cinema’s history. It was an amazing year of discovery and reflection and I wouldn’t trade it for anything in the world.
And, now, without further ado, the list. Ps. there’s more writing after the list, so please keep reading! Also, for some reason WordPress can’t handle a bulleted list that has four digits, so it cuts off the numbers towards the end of the list. But I think you can still figure out what’s what.
Read the rest of this entry
Martin Blackford: There’s such a thing as self-respect.
Ethel Whitehead: Don’t talk to me about self-respect. That’s something you tell yourself you got when you got nothing else. What kind of self-respect is there living on aspirin tablets and chicken salad sandwiches? [beat] Look Marty, the only thing that counts is that stuff you take to the bank, that filthy buck that everybody sneers at, but slugs to get. [beat] I know how you feel. You’re a nice guy. But the world isn’t for nice guys. You’ve got to kick and punch and belt your way up because nobody’s going to give you a lift. You’ve got to do it yourself, cuz nobody cares about us except ourselves.