Citizen Kane (1941)
In the mid-1950s, Hollywood proudly proclaimed that “Movies Are Better Than Ever.” And it was hard to argue the point, with many of the brightest stars at their peak, innovations such as wide-screen cinemascope, 3D and patron-friendly promotions.
The artistic nuances and subtle messages of countless fine films remain unmatched and are appreciated more and more by discerning movie lovers. And they were produced without obvious, cartoon-like computerized effects, profanity and graphic sexual content.
Of Hollywood’s decline, Peter O’Toole, in 1982’s My Favorite Year, opined: “I’m not an actor, I’m a movie star.” Nowadays the stars shine with a dimmer light.
Indeed, most recent high-admission-priced movies fall far short of pre- and post-World War II fare. The latter included stunning, black-and-white film noir, lavish Technicolor musicals, mature dramas, searing war stories and rousing westerns—all with slow-moving, easy-to-read closing credits.
Cinema magic lives in The Grapes of Wrath (1940), Citizen Kane (1941), Casablanca (1942), Double Indemnity (1944), The Asphalt Jungle (1950), Show Boat (1951), From Here to Eternity (1953), Carmen Jones (1954), Paths of Glory (1957), Psycho (1960), The Wild Bunch (1969), The French Connection (1971) and The Godfather (1972). The great directors—John Ford, Orson Welles, Michael Curtiz, Billy Wilder, John Huston, George Sidney, Fred Zinnemann, Otto Preminger, Stanley Kubrick, Alfred Hitchcock, Sam Peckinpah, William Friedkin and Francis Ford Coppola—conveyed light moments, dark moods, odd angles, dimly lit rooms, eerie nights, twisty plots, suspense and surprise endings augmented by unforgettable theme music. Their work is now embraced by a growing number of moviegoers at revival theaters nationwide.
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It’s hard to argue with the stars of those movies with names such as Humphrey Bogart, Marlon Brando, James Cagney, Ingrid Bergman, Claudette Colbert, Joan Crawford and Bette Davis.
Many theaters showed Saturday matinees for kids, as well as two-for-the-price-of-one “double features.” A main feature had big stars, while a second “B” feature had lesser-known performers. Downtown box office prices rarely exceeded a dollar, and neighborhood movie houses charged 50 cents or less.
And the theater experience was far better. No annoying on-screen advertising was shown, but short subjects such as “The March of Time,” “News of the World,” color cartoons, travelogues and short previews of coming attractions. Free dishware was offered and ticket prices were cut on some nights. The cozy Roosevelt Cinema in Milwaukee touted “Two Hits for Two Bits” every Wednesday and Thursday.
Quality older films are available daily on Turner Classic Movies. Nothing approaches its commercial-free, uncut films from Hollywood’s peak decades hosted by perceptive film historians. TCM enables us to avoid dumbed-down, commercial-addled movies in favor of watching, and appreciating, unexpurgated film classics. And these movies stand the test of time.
Significantly, the 1930s-’70s produced fine black performers while much of America remained segregated. Noted names include Rudy Dee, Eddie “Rochester” Anderson, Louise Beavers, Harry Belafonte, Roscoe Lee Browne, Dorothy Dandridge, Ossie Davis, James Edwards, Juano Hernandez, Lena Horne, Rex Ingram, Canada Lee, Hattie McDaniel, Claudia McNeil, Butterfly McQueen, William Marshall, Juanita Moore, Brock Peters, Paul Robeson, Sidney Poitier, Oscar Polk, Bill “Bojangles” Robinson, Frank Silvera, Richard Ward, Fredi Washington, Ethel Waters, Leigh Whipper and Dooley Wilson.
Some of today’s talented black film stars, to their credit, acknowledge such cinematic pioneers. Some understand the pressure faced by the likes of Willie Best, Stepin Fetchit and Mantan Moreland, who had to portray embarrassing racial stereotypes to find work. Happily, this is no longer true. And it’s one of the few positives about today’s movies.
