Looking Forward

Understandably, but regrettably, this understated drama of sympathetic characters facing a lifetime of honest effort gone to waste is transformed into propaganda for facing the Depression (1930s) with courage and determination. That the filmmakers make a 180-degree turn toward optimism and a (hopefully) better future is commendable in regard to boosting public morale during economically bleak times, but in doing so they sacrifice the touching story that had been developed up to that point.

As a businessman trying to stoically face the demise an operation that has supported his family for generations in comfort and style, Lewis Stone is superb; no less so Lionel Barrymore as a dull, unimaginative clerk whose long-standing devotion to the company gives him a reason to look forward to each day - until he is laid off when the staff must be reduced. Their scenes together are especially moving: low-key, but charged with emotion. All of this, however, goes for naught when the film's "message" is thrust at us during the final twenty minutes. Lewis Stone's despair, along with his conviction that the business cannot possibly survive another six months, is transformed into a resolve that somehow a way will be found to carry on and prosper. Equally unconvincing is Lionel Barrymore's becoming something of an entrepreneur in order to support his family - he who was deemed expendable by the company for lacking ambition and imagination. The upbeat ending may have been exactly what the times called for, but a well-wrought drama was lost in the process.

Looking Forward (1933)

*** (out of 4)

Extremely well-acted drama from MGM is a rather depressing tale during its first half only to pour too much sugar during the second part. The film takes place during the Depression as Lewis Stone is forced with the fact that his department store is losing too much money and he is forced to lay off several people including one (Lionel Barrymore) who has been with the company for over forty-years. Soon things are getting even worse and Lewis finds himself nearly broke when someone makes an offer for his store. Barrymore gets top-billing and his name over the title but he's got a rather small role and only appears at the start and end of the film. The movie clearly belongs to Stone who turns in a marvelous performance and really makes this film worth seeking. The Depression-era tone of the film certainly fits in well today and one can't help but feel a lot of the messages being said in this movie could be said today. There are some truly depressing moments in this film including the start where Lewis has to lay off Barrymore. The acting these two give during this sequence is certainly spell bounding as they both perfectly nail the situation and really make you feel everything their characters are saying. Barrymore perfectly captures the depression of his character early on and then matches the happiness that would later follow. Colin Clive of FRANKENSTEIN fame has a small role here that doesn't give him too much to do but fans of the horror genre will still enjoy seeing him. The films title was taken from a speech given by F.D.R. and there's no question that the heart was in the right place even though the final third has way too much sugar than what was really needed. Considering a real Depression was going on, it's understandable that the studio wanted to say something with this film so I'm sure it worked better back when it was released. Fans of the two actors will certainly want to check this one out as both men give wonderful performances.

The story is hackneyed, but the acting (except for Stone's daughter played by Elizabeth Allan) is above average, with both Barrymore and Stone turning in excellent work, as do about a dozen or so character actors, some of whom are outstanding.

But what struck me the most was the quality of the print and of the photography itself. Once I looked up Oliver T. Marsh (brother of Mae), I saw that he he went on to do many major films, and died relatively young. His work his is luminescent, and it's not just the lighting that grabs your attention. Most every shot is placed just perfectly (Clarence brown in inspired form) and the various angles and shades of lights brought as much pleasure as the acting, sometimes even more in the more clichéd and/or staid moments.

Without a doubt, this is a far above average production.

As a lowly accountant in a big London department store, Mr. B. doesn't wheeze, waggle his eyebrows, or overact in any way. He's pleasingly restrained as a small, passive cog in a large machine, and so is Lewis Stone, not resorting to any Judge Hardy tricks as the sympathetic but staunch corporate patriarch who must reluctantly let him go. Adapted from a stage play by C.L. Anthony (a pseudonym for Dodie Smith, who wrote "101 Dalmations"), this Depression family drama does acknowledge the Depression more than most early-1930s studio product, and it provides a nice contrast in how these two gentlemen's families (Stone's with greed and self- centeredness, Barrymore's with sacrifice and resolve) react to adversity. It's not thunderingly dramatic and kind of peters out, but as MGM prestige product of the day, it's less showy and artificial than many of its contemporaries.

This is one of the better Depression era films I have seen, as it not only encapsulated what this period was like but had exceptional writing that avoided clichés. And, thanks to exceptional acting, it's well worth seeking out the next time it appears on Turner Classic Movies.

The film is the story of two men who work at the same old family department store--the boss (Lewis Stone) and a lowly career employee (Lionel Barrymore). Both men are in trouble at work. Barrymore is reluctantly let go after 40 years on the job. No matter how sentimental and loyal his boss (Stone) is, the company is in serious trouble and cutbacks must take place. And, when Stone realizes his company is about to go bankrupt, he, too, is seriously affected. However, what really makes the movie exciting is how their families react to the crisis. While it seemed less surprising how Barrymore's family responded, Stone's family was exciting to watch. I could say a lot more--but I just don't want to spoil it for you.

The bottom line is that the movie is exquisitely written and acted. It's also a nice film to offer some hope to Depression-weary audiences--and not in a phoney or formulaic manner. If you enjoy this film, also try "Sweepings--another Barrymore film that is about a company in crisis.