The World Changes

This epic might have been called "How the Midwest Was Won," as it follows four generations of the Nordholm family from about 1850 to 1929. Paul Muni, who never gives a bad performance, is excellent as the central character, the son of Aline MacMahon (who in real life was actually 3 years younger than Muni) and who born just as she settled somewhere in a remote part of the Dakotas. How remote? When Lieut. Col. George Armstrong Custer comes in their house with some of his men and happily announces that the war (between the states) is over, MacMahon replies "What war?" As you might expect, four generations involves a lot of people, so it takes some concentration to sort them out (a cast list may help) but it's worth the effort. I enjoyed seeing a young Mickey Rooney, Jean Muir in her first film (where she plays Muni's original love interest and later her own granddaughter) and the various historical characters that pop up. It's not a great film, but one easily enjoyed.

If you are interested in credits, you may notice that Guy Kibbee is credited as "Claflin" in the opening credits, but his name is consistently spelled "Clafflin" within the film. And Muir was credited as "Selma II," but what that means is never explained.

I didn't think there was a vintage Warner Bros. or First National movie I hadn't heard of -- but then "The World Changes" turned up on Turner. Had to be a clunker, right? Wrong. It's a saga that surges through some fifty years of American history, following a farm boy to the stockyards of Chicago and prosperity thanks to the invention of refrigerated cattle cars. His challenges? A wife who is going mad, a pair of wastrel sons and ultimately the 1929 Wall Street crash. Paul Muni in the starring role is superb, subtly changing from eager innocent to troubled tycoon. It's Muni's show but he's ably supported by Mary Astor, Guy Kibbee and even a moppet Mickey Rooney in a small role. There's a touch of "Citizen Kane" about "The World Changes." It's a terrific "lost" movie, well worth your time.

Ladies, go out and rent The World Changes because Paul Muni is gorgeous! If you thought he was handsome as a brunette, just wait until you see him as a blond. Of course, by the end of the film, he's undergone severe age makeup, but feel free to drool your way through the first half of the film.

Paul lives out in the country with his family, but a chance meeting with Buffalo Bill, played by Douglass Dumbrille, inspires him to explore and make his way in the world. He gets a job in a meat-packing factory, and after marrying the boss's daughter, he transforms the industry. In addition to showing one man's struggle in the business world, the movie explores themes of ambition, ingratitude, family quarrels, and marital problems. Parts of the film are very good, but keep in mind that it was made in the early 1930s. It's worth noting that this was the first film Paul Muni made in which his character aged decades, something that would become his signature throughout his career.

Enjoy the eye candy, and the supporting cast, including Mary Astor, Guy Kibbee, Aline MacMahon, Margaret Lindsay, and Donald Cook, but you might want to watch a musical afterwards. The film takes place over several decades, and each time change shows a globe turning. The scene-change music can get stuck in your head quite easily.

Mervyn LeRoy was working pretty frantically in 1933, turning out five big features for Warner Brothers, and this social history-drama was as far from its LeRoy predecessor "Gold Diggers of 1933" as you can imagine. It's a rags-to-riches epic of Orin Nordholm (Henry O'Neill) and his wife (the always superb Aline MacMahon), founding a town in Dakota territory in 1856 and watching their namesake son (Paul Muni) become a meat tycoon with Guy Kibbee, marrying Kibbee's difficult and pretentious daughter Mary Astor, and raising a family of ingrates and opportunists. It's lavish, with big montages (the market frenzy is especially well done) and a big Warners cast, and there are some wonderful scenes--loved Custer informing Orinville in 1865 that the war is over, and MacMahon asking, "What war?" But the Muni-Astor love story (he unwisely abandons Jean Muir for her) is unconvincing, with a love-at-first-sight we don't buy (Paul Muni was many things, but sexy was not one of them), and the parade of greedy, unprincipled relatives--Donald Cook, Margaret Lindsay, Alan Mowbray--somewhat monotonous. Muni's fine, with some impressive aging makeup, and Astor, while playing a character we don't quite believe, never gave a bad performance. It's consistently entertaining and sprawling, and I love this 1930s genre of multigenerational American epics, but there are neater entries than this one.

... and this film explains the run up to the stock market crash in the person of Orin Nordholm, Jr. (Paul Muni), born in Dakota territory to Swedish immigrant parents looking for a place to build a farm. When another family arrives there, they decide seven people are enough for a town and christen it Orinville.

As Orin grows to manhood, he decides to seek his fortune in the multitude of cattle in Texas, and the multitude of meat hungry folk in the northeast, leaving Orinville and his fiancee Selma (Jean Muir) behind. Orin is hard working and enterprising, cagey when he has to be, and tragically partners with James Claffin. It's not tragic because Claffin tries to cheat him, but because he introduces Orin to his daughter, Virginia (Mary Astor),a terrible ungrateful snob. They inexplicably marry, and Orin is ultimately an unhappier man because of it. Claffin dies shortly thereafter, leaving the business for Orin to ably run.

We are shown absolutely nothing of the Orin/Virginia courtship, so the audience has no idea what he sees in her. They must have never had a conversation for him not to see she was bad news. Or maybe Virginia was as good an actress during courtship as the actress that played her. Two sons are born to the marriage and they are both as snobby as their mother, whom she ruins by spoiling them, not letting them see that all of their money is not just heaven sent.

The rest of the film plays out like a Greek tragedy or maybe the decline and fall of the Roman Empire with the subsequent two generations just getting more spoiled, reckless, entitled, worthless. Orin has long sold out his interests in his meat packing empire. One son is a professional loafer and lady's man. The other has married a girl just like dear old mom - not a good thing - and owns a brokerage firm where he and his son are involved in embezzlement Madoff style that in better times they could probably cover up, but then comes the crash of 1929.

Orin was a hard worker, always as honest as you can be in big business, his biggest sin seeming to be marrying the woman that he did. And yet it seems like this film is trying to say- and rather obviously at that - that his sin was to leave Orinville in the first place. What kind of place would America have become if nobody had big dreams and followed them? Questions not asked or answered. But maybe not popular questions at the height of the Great Depression.

Kudos to Aline McMahon as Orin's mother who credibly ages from a teen bride in 1856 to a 90 something widow in 1929. I just love her subtle acting style, her natural beauty. Interesting factoid here is that MacMahon actually lived into her 90s. She is as credible in her aging process as the more famous Paul Muni is in his.

A few funny things. Somehow the Nordholms manage to run into three famous western figures - George Custer, Buffalo Bill, and Wild Bill Hickok. Also director Mervyn Leroy always had trouble transitioning between scenes to the point that early in his career he actually had a curtain lower and rise like he was changing scenes in a play. Here he uses a globe turning with the years ticking by to indicate the passage of time.

I'd recommend this one for Muni's as well as MacMahon's acting.