Clark Gable as Peter Warne
Claudette Colbert as Ellie Andrews
Walter Connelly as Mr Andrews
Jameson Thomas as King Westley
The 1930s in Hollywood were a golden era. There were glittering epics such as Gone with the Wind and The Wizard of Oz, fabulously overblown women’s pictures like Dark Victory and The Women and a raft of acclaimed literary classics such as The Grapes of Wrath and Wuthering Heights…. But by far the most entertaining films of that golden age for me, and the films I return to again and again, are the glorious romantic comedies of Frank Capra. Because Capra’s comedies weren’t just funny and gloriously romantic, they were also heartfelt and genuine, shedding a healing light on the hard times of the Great Depression.
Escapism with an edge, I like to call it.
Now, Capra was a fan of Gary Cooper (Mr. Deeds Goes to Town) and later James Stewart (It’s a Wonderful Life), but my favourite of his rom-coms (and it’s got a lot of competition) has to be the time he cast Clark Gable as his leading man in It Happened One Night. This was Gable five years before he took on the iconic role of Rhett Butler in GWTW, and while the darkly handsome good looks, alpha tendencies and trademark playboy tache are already in evidence here, this is a younger, more playful and laid-back Gable—he’s supersexy, but his reporter, Peter Warne, is also witty, wonderfully contemporary and gets as good as he gives from his sassy heroine—Claudette Colbert’s runaway heiress, Ellie Andrews. So if we translate that into Harlequin terms, while Rhett is more of a Presents hero, Peter for me is all KISS.
Like most of Capra’s films, the story is simple and remarkably subtle, brilliantly clever and always character led.
Ellie has decided to tie the knot with ‘society aviator’ King Westley against her millionaire father’s wishes. Dad whisks her away to his luxury yacht to make her see sense, but she escapes—determined to make her way back to King, come what may. Enter our smart, jobbing reporter, Peter Warne, who’s on the lookout for a headline-grabbing exclusive. And Ellie’s race across the country to be reunited with her beau is it. At first Ellie’s reluctant, but after a spot of blackmail and the realisation that she needs Peter—because you see she has no money, very few clothes and she is not used to slumming it—they end up hitch-hiking and bickering their way across the country together.
Thus begins an often-hilarious, frequently heart-warming and also exceptionally sexy battle of wits that turns to romance, when Ellie finally figures out that Peter’s more of a match for her than King will ever be, and Peter figures out that his career isn’t as important as finding true love—and a woman who knows ‘the limb is mightier than the thumb’!
But don’t take my word for it. This film won the five big Oscars of 1935—namely Best Actor, Best Actress, Best Picture, Best Director and Best Screenplay—can still charm the pants off you three-quarters of a century after it was made and, most important of all, put an end to men wearing vests (when Gable revealed his bare chest). And let’s face it, ladies, we’ve all got to salute it for that!
There are two key scenes that encapsulate the perfect blend of humour and romance this movie has to offer. First, the now-legendary hitch-hiking scene in which Ellie strings Peter along beautifully while he happily gallops towards his own comeuppance as he instructs her on the proper way to use your thumb. Only, he discovers that, as already stated, Ellie’s long-legged limb is mightier than his thumb, no matter how he chooses to use it!
And then there’s the pièce de résistance—considered super risqué in its day, and still pretty hot now—when the couple has to share a motel room and Peter constructs the Walls of Jericho (i.e., a blanket hung on a washing line) between their two beds. But you’ll have to watch the movie to see the Walls of Jericho come tumbling down!
I give you It Happened One Night—proof that not only does money not buy you love, but slumming it can actually be very romantic…. Especially if you happen to be doing it with Clark Gable.
The Wizard of Oz (1939): Because of the Wonderful Things It Does
Directed by Victor Fleming
Starring:
Judy Garland as Dorothy
Frank Morgan as the Wizard
Ray Bolger as the Scarecrow
Bert Lahr as the Cowardly Lion
Jack Haley as the Tin Man
Margaret Hamilton as the Wicked Witch of the West
Surely the ultimate fantasy quest movie, the original Judy Garland version of L. Frank Baum’s classic The Wizard of Oz does so, so many wonderful things—but here are just a few of them.
For starters, there are the catchy hum-along songs. Tunes so memorable that as soon as you say the titles, you’ll be humming them in your head—like ‘We’re Off to See the Wizard’ or ‘If I Only Had a Brain’ or ‘Follow the Yellow Brick Road’. See what I mean? Works every time…
But let’s not forget the best song of all: Judy Garland’s sends-shivers-down-your-spine version of ‘Somewhere Over the Rainbow,’ which, amazingly, nearly got cut from the finished film because Louis B. Mayer thought it slowed the pace. (Louis, you philistine!) Tons of people have covered this song since (just try sticking it into YouTube and you’ll get the picture), but no one sings it with more heart and soul than Judy, her full, rich, heartbreaking voice all the more poignant when you consider this was her finest hour, when she was a beautiful, doe-eyed teenager full of promise, and all her troubled times were mostly still ahead of her.
Then there’s the superb casting: not just Judy at the peak of her powers, but also all those character actors—from Margaret Hamilton’s Wicked Witch of the West to Bert Lahr’s hilarious Cowardly Lion—who each took their one big chance to shine and turned in career-defining performances.
And don’t forget the glorious Technicolor photography coupled with some eye-popping set design—they make the Yellow Brick Road gleam like a golden halo, the field of deadly poppies glow a vibrant red and the Emerald City sparkle in an array of rich verdant greens. Plus there’s the gorgeous process art, which is so lush and lovely it’s still a feast for the eye—and makes today’s CGI-enabled movie magic look decidedly ordinary by comparison.
And let’s not forget the dreamily good script, which took L. Frank Baum’s original story about a young girl’s quest to get home and moulded it into something that will make you laugh, cry, sing, dance and gasp with amazement. And it boasts a slew of quotable lines that have become an essential part of pop culture: ‘Pay no attention to the man behind the curtain!’ ‘I’ve a feeling we’re not in Kansas anymore’ or ‘I’m melting, I’m melting’, to name but a few.
And last, but by no means least, there’s the fact that this movie can still make you feel like a kid on Christmas morning—no matter how old or jaded you are, or even if it’s the middle of July. It can mesmerise and excite, and fill you with the complete conviction that magical things really do happen and there actually is ‘no place like home’.
The Wizard of Oz is Hollywood’s golden era at its most golden, guaranteed to make your troubles melt like lemon drops away above the chimney tops…. Oh, darn it, I’m singing again!
