Little Man, What Now?

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.

"Little Man, What Now?" is a miserable story. Now I am NOT saying it's bad...but it is hard to watch and even painful to watch at times. It's the story of a young married couple who are struggling just to survive the economic malaise in post-war Germany...where their Depression was far worse than that which hit the States. Jobs were very hard to come by and life was a serious struggle.

When the film begins, Hans and Emma (Douglass Montgomery and Margaret Sullavan) marry. However, Hans works at a peculiar place...where they ONLY employ bachelors and will fire him if he marries! And, there's a constant push to make the company meaner and leaner--and the employees are warned that one could easily be fired! Well, eventually he is exposed and loses the job and they are poor and hungry. He accepts an offer from his mother to move into her place. Yet, when they arrive, you see his mother is a shallow bi...um...not nice person. She wants to charge them rent and only things about herself and her live-in lover (Alan Hale)...and life is STILL a struggle. Fortunately, Hans gets a job...but ends up losing it and they are miserable once again...a pattern that continues throughout the film. And, oddly, despite their financial problems, the couple seem to occasionally plan and spend very poorly.

If you are looking for a feel-good film, this is NOT it!! It's a portrait of the Depression and Depressions are, by their very nature, depressing!! The film is well made and an interesting historical portrait...but how many folks wanna see something this unappealing and awful?! Yes, post-war Germany (1919-1932) REALLY sucked...and here is sucks in spades!!

By the way, you can tell this is a Pre-code movie when the film begins (it came out a few months before the new Production Code was put into effect). Douglass Montgomery's character is standing outside a gynecologist's office...and it says 'Gynecology' on the sign! You'd never see this in Post-Code films of the 30s, 40s or 50s. Well made but dreadful.

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.

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.

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.