Et demain?

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.

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.

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.

This is the story of a young German couple, Emma (Margaret Sullavan) and Hans (Douglas Montgomery), struggling to get by in Weimar Germany with a Depression going on. It reminds me of "Made for Each Other" starring James Stewart and Carole Lombard made in 1939.

Hans and Emma are unmarried and facing an accidental pregnancy. They get an appointment with a doctor where it is implied that they can get an abortion. But the doctor refuses, and having no other "references" of doctors who are trustworthy in this matter, they get married and decide to have the baby.

They face a multitude of problems, the first being that Hans is one of three men his employer has hired with the strict rule that none of the men be married. The reason is that said employer has a homely daughter of marriageable age and he is trying to foist her off on one of them. And said homely daughter has decided that Hans is the man she wants. That leads to unemployment for Hans, but not the way you think. Then they decide to move in with Hans' well off stepmother, but she sees Emma as her personal servant, and then it is discovered that dear old stepmom is running a brothel from her house when Hans is away during the day.

The two just encounter a raft of cold heartless employers that use the hard times to make ridiculous demands on their employees. It's not like any of this has any parallels in today's world right? But along the way the couple does meet some kind people or else this story would just be too depressing.

The turbulent political times are mentioned too, as Hans and Emma keep running into a penniless Marxist couple that is homeless and often hungry.

Frank Borzage spent his entire life in the United States, but his parents were both from Central Europe. I guess it is from the tales they told him that he learned enough about the place that his films set in post WWI Europe ring so true. As for the romantic angle in this film, Borzage was in a marriage in which the love was strictly one way. His wife did not care for him at all. Maybe some of the optimism and romanticism found in his films is rooted in his hope that somehow his own marriage would eventually work out.

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.