Die fremde Mutter

The good leading performances of Wallace Beery and Marie Dressler, plus the well-crafted dockside atmosphere, combine to make "Min and Bill" well worth seeing. Both Beery and Dressler have roles well-suited to them, and the two of them are thoroughly convincing in their relationship with each other. The actual story works all right, but mainly thanks to the leads and the settings. In itself, the story contains some worthwhile ideas, but some of the developments are too contrived to make it fully satisfying.

The main characters are interesting in their personalities, their imperfections, and in their relationships with each other and with the other characters. It's a pleasure to see Dressler and Beery in their scenes together, because with apparent ease they make use of - in ways subtle and not-so-subtle - the full range of possibilities in the way that Min and Bill relate to each other. Then too, the characters fit in seamlessly with the settings, which are also nicely done in themselves.

There's almost no need for much of a story, since it would be interesting just to see more of their daily lives. Most of the developments in the movie revolve around Dorothy Jordan's character, a young woman who has been brought up by Min. There are some thoughtful moments showing how she and Min feel about each other at different times, but at other times the script seems to miss some better possibilities. Dressler makes everything that Min does seem natural, but at times her skill is the only reason why it works. Thanks to her and Beery, it does work pretty well overall, and it is one of the better movies from the earliest years of sound films.

Min and Bill, in my estimation, is the best comedy of 1930. The scintillating scenes between Wallace Beery and Marie Dressler are authentic and hilarious. Neither of these first-rate performers misses a beat with the great script provided by the film's writers. Dressler was so good, she won an Oscar for her performance. Beery is just as good in this film as he was in his two Oscar-winning roles that were to follow. Talk about a win-win situation. The viewer cannot wait for the next line from either of them with their ongoing battles on the screen. Audiences during the Depression LOVED this film, as it made them forget their considerable troubles for an hou or so.

Marie Dressler was always never less than watchable and when she was at her best ('Dinner at Eight' being one of the best examples) she was more than great. Wallace Beery was more mixed for me, he had fine performances in the likes of 'The Big House' but at other times he could be hammy and unbalance things. Seeing a film with them together did sound interesting, the story sounded charming and the positive critiques promising.

While not a perfect film, with a few things that don't work as well as others, 'Min and Bill' was a lovely way to spend just over an hour or so. The good things far outweighing the cons. Whatever reservations one has with the story, the performances of Dressler and Beery make 'Min and Bill' well worth watching. As well as the balance of humour and emotion, which is balanced just about right and both elements handled well individually too.

The story is very slight and very creaky, with some of the pace not always coming to life.

Also thought that the title does mislead, for a titular character Bill is too much of an underused plot device.

Dressler on the other hand is a marvel, never going over the top and the performance is amiable and at times very moving. She also has a very expressive face and telling expressions. Beery's good natured performance is one of his more subtle and better ones and his chemistry with Dressler is truly charming and gives 'Min and Bill' a lot of much needed heart. The production values are not exceptional but it's still nicely photographed. The direction is sensitive on the most part, if at times a bit on the staid side.

Like what was said above, there is humour and emotion here. Neither over-balances the other, though the latter resonates a little more, and the humour is gently amusing and the emotion genuinely touching.

Concluding, quite lovely if a bit creaky narratively. See for the chemistry of Dressler and Beery and for Beery and especially Dressler (who essentially is the film). 7/10

Given the running time of barely over an hour my guess is that MGM did not think Min and Bill would wind up the success it did. But the team of Wallace Beery and Marie Dressler proved to be box office. It also proved that you didn't necessarily have to appeal to that all knowing youth market to have box office attraction. Min and Bill was definitely for the senior citizen trade.

Director George Roy Hill created a real waterfront atmosphere for the telling of this story of an old woman who runs a cheap waterfront boarding house and the old fisherman who's her boyfriend. Min has a young girl living with her who was deposited on her doorstep by her mother who took off.

Years later the mother, played by Marjorie Rambeau comes back with a vengeance and wants her kid. The daughter is played by Dorothy Jordan who is now in a finishing school and about to be wed to a rich young man.

Of course this sets up the final conflict. Marjorie Rambeau deserves some accolades as well for her performance as a waterfront tramp.

Since the conflict between Dressler and Rambeau is what drives the film, Beery is around, but he's not central to the plot. Still even today he and Dressler provide a few good laughs.

Marie Dressler who was in her sixties when she won her Oscar for Best Actress, lived only four more years after this film was done. On the strength of this film, she became a box office draw, making something of a comeback from her days in vaudeville in the ragtime era where she was a star. She and Beery partnered again in the lighter Tugboat Annie.

Min and Bill though a real antique from the early talkies retains a certain charm that still comes through for today's audience.

Min and Bill (1930)

*** (out of 4)

Marie Dressler picked up the Best Actress Oscar for her performance here as Min, a waterfront rat who was given a small baby after its mother decided to run off. Min raised the kid to a young woman (Dorothy Jordan) along with the help of her friend Bill (Wallace Beery) but she is pretty much forced to throw her out to get her away from the trashy life on the waterfront. Then, Min must do even more when the girl's drunken mother shows back up. The actual screenplay here, by Frances Marion, is pretty standard for the era as it really doesn't try to do too much but there are some excellent performances that make the film worth viewing. I've been rather hit and miss on my opinions of Dressler but there's no question that this film belongs to her and it's without question the best work I've seen from here. I guess this was a real coming out after apparently considering suicide only a few years earlier when she made her comeback in THE PATSY, which eventually led to more roles and then this one, which got her the Oscar. Again, her look is just right for the film but I was amazed at how much heart and soul she pumped into her character and the film. This is a pretty dark little movie that doesn't take any comic turns or center on fake moments. The characters are shown as being ugly and trashy and it doesn't try to make them look good at any point. The film and Dressler's performance also makes it clear that ugly people can have good hearts, which I believe is the real point of the film. I was surprised that the film took a few of the twists that it did but then again, we're dealing with a pre-code era where happy situations weren't always forced on movies. Beery is also very good in his supporting role as his always plays the idiot well. I was also impressed with Jordan in her role and Marjorie Rambeau is fine as the drunken mother. Again, the screenplay is pretty straight forward and simple and it was clearly written to fit Dressler and Beery but the two take it, run with it and in the end deliver a nice little gem.