Little Man, What Now?

This movie represents the best of the early '30s soap opera genre. Based on an earthy German novel, it satisfies from the opening credits to the end. Margaret Sullavan was never more eager, poignant or believable and I think it must be the role that made her a star. Douglass Montgomery showed a promise he was never again given a chance to develop or display in Hollywood. The supporting cast included Alan Hale and Mae Marsh, two of the best actors in the business at the time. In my opinion, MGM got a great return on its investment. This movie managed to stay within the bounds of the excessive censorship in effect at the time (although some of the plot does come up to the line) and although it showed how desperate times call for desperate measures, it never lost its message of faith and hope. I hope it's available on DVD soon.

I see that the German cinema did a version of Little Man What Now a year before this Universal Picture came out. Depending on exactly when Dr. Goebbels took over their movie industry the message would have been far more polemic than here. I could see this as good material for either a Nazi inspired film or a left wing one.

But Frank Borzage as director always seems to concern himself with the plight of young lovers, the truly innocent of the world and how forces around them are buffeting their chances at happiness. Which seems to be a capital sin in Borzage films.

A lot similarity between this one and later Borzage works like Three Comrades and The Mortal Storm which also starred Margaret Sullavan. In Little Man What Now Douglass Montgomery and Margaret Sullavan are a pair of young marrieds who just can't seem to get traction enough for Montgomery to earn a living and support Sullavan and the baby coming. As things go from bad to worse Montgomery is tempted to seek radical politics of some kind.

My favorite scene in the film concerns poor Montgomery waiting on a self centered cinema star in the department store where he is currently employed. Alan Mowbray is unforgettable in that one scene. Interesting showing a the indulgences of a selfish man can have such an effect as Montgomery's job is on the line.

Even now too many of us live two paychecks from the gutter and too many of us are tempted by demagogues as a result. In that way Little Man What Now is still a very relevant film.

One of the most heartbreaking, swoon-inducing film experiences I've ever had is 1934's "Little Man, What Now?"

It's about a young couple, with a child, struggling against poverty and a steady stream of bad luck in early 1930's Germany. It's an American film, but at times it almost plays like a piece of European cinema. The atmosphere is thick and the story isn't afraid to drift into areas that are a bit dark (and daring in a pre-code sense). It has a sentimental streak for sure, but the sentiment is never turned on at the expense of intelligence.

Another stand out quality of the film is it's almost painfully gorgeous cinematography. The world of the film is like a dream or like something from a storybook. Sunlight shines against water and trees and grass with a pristine silvery glow. Faces are shown in the most lovely light. Margaret Sullavan, especially, is shot in a way that practically makes you fall in love with her.

This is a true jewel of obscure 1930's cinema, rarely shown and, as of this writing, not available on any home video format. See it the first chance you get. It is a must for the classic movie enthusiast who feels like they've seen everything.

Full of Borgaze's trademark swoony romanticism mixed with a touch of pre-code decadence. This tale of a struggling young couple also boasts Margaret Sullavan's enchanting sensitive performance, she seems to carry a gossamer glow with her where ever she goes. Alan Hale also adds much to the film as a sprightly good-hearted charlatan but what drags it down almost fatally is Douglass Montgomery in the male lead. To put it plainly, he stinks. He's a stiff blank slate that stops the film dead in its tracks whenever he's the focal point of the scene. You're left to wonder what a more effective actor such as Jimmy Stewart or Cary Grant could have made of the part and how much better the movie would have been because of their casting.

Legendary American born director Frank Borzage was a master at romance set in difficult situations. He specialised in stories set in Germany just before or during the build-up to WW11 (The Mortal Storm '40 - Three Comrades '38) In this interesting pre-code drama he's following two young lovers in 1930s Germany - as they hide the fact they are newly married and expecting a child. The young man (Douglas Montgomery) is keeping his secret to protect his current job - that for various reasons demands he's single.

The settings (outdoor and indoor) are a delight to the eye, even when they are living in a stable! This is life as raw as it can be for two young newlyweds living in the glow of their own love - within a rapidly changing pre war German landscape. Prolific veteran cinematographer Norbert Brodin (known for several classic Noir dramas including "The Kiss of Death" '47) who, with a combination of fine art and set direction; create a dreamlike poetic look for this thoughtful and offbeat film that deserves to be better known.

Highly recommended for lovers of vintage dramas that highlight a historical time gone by, and do so with a special flair. Also, for the truly remarkable, unforgettable Margaret Sullavan.