Cavalcata

That was a chapter heading in a book on the making of KING KONG. KING KONG which received no Oscar nominations and this one (1) won BEST PICTURE. That is why we were very interested in seeing it and were not disappointed. No need to go over the films short comings which some other reviewers have done. Though we don't see how being shot in B&W is relevant since that was the prevailing technology of the time.

The importance of the film is how the post (WWI) war generation viewed themselves and the tragedies, personal and international that transformed their world. The two (2) most powerful being the brief Titanic sequence and the montage of WWI where young men in an unending stream march into a Dante's Inferno never to return from that circle of hell. How the confidence of the Victorian/Edwardian age was shattered and their Empires were swept away or Gone With The Wind.

Film has clearly had it's influence and the most pronounced was in the SUPERIOR Jean Marsh television series UPSTAIRS DOWNSTAIRS. If you cannot feel empathy for the characters of CAVALCADE you will in this. Do yourself a favor and watch CAVALCADE first. Watching both might get some people to, dare I say it, even read a book about that time period and realize that the current time does not have a monopoly upon conflict and pain.

One final comment KING KONG should of WON.

CAVALCADE is an extremely good example of films made in the first few years following the advent of sound, an era in which actors, directors, writers, and cinematographers struggled to find a new style that could comfortably accommodate the new technology. During this period, many actors and writers were drawn from the stage--only to discover that what seems real and natural in the theatre seems heavily mannered on screen.

This is certainly the case with CAVALCADE. The film presents the story of two London families whose lives intertwine between 1900 and 1933. The film begins with the upperclass Marryot family and their servants, Mr. and Mrs. Bridges, facing the Boer War--and then through a series of montages and montage-like scenes follows the fortunes of the two families as they confront changing codes of manners and social class and various historic events ranging from the sinking of the Titanic to World War I.

From a modern standpoint, the really big problem with the film is the script. CAVALCADE was written for the stage by Noel Coward, who was one of the great comic authors of the 20th Century stage--but the sparkling edge that seems so flawless in his comic works acquires a distastefully "precious" quality when applied to drama. Although the play was a great success in its day, it is seldom revived, and the dialogue of the film version leaves one in little doubt of why: it feels ridiculously artificial, and that quality is emphasized by the "grand manner" of the cast.

That said, the cast--in spite of the dialogue and their stylistically dated performances--is quite good. This is particularly true of the two leading ladies, Diana Wynyard and Una O'Connor (best known for her appearances in THE INVISIBLE MAN and THE BRIDE OF FRANKESTEIN), both of whom have memorable screen presences that linger in mind long after the film ends. The material is also quite interesting and startlingly modern; although it is more covert than such films as ALL QUIET ON THE WESTERN FRONT, CAVALCADE has a decidedly anti-war slant, and the characters in the film worry about where technology (which has produced such horrors as chemical warfare by World War I) will take them in the future.

I enjoyed the film. At the same time, I would be very hesitant to recommend it to any one that was not already interested in films of the early 1930s, for I think most contemporary viewers would have great difficulty adjusting to the tremendous difference in style. The VHS (the film is not yet available on DVD) has some problem with visual elements and a more significant problem with audio elements, but these are not consistent issues. Recommended--but with the warning that if you don't already like pre-code early "talkies" you will likely be disappointed.

Gary F. Taylor, aka GFT, Amazon Reviewer

If you want to know what the twentieth century looked like to people in the early thirties, this is the film to watch. Two families - upstairs and downstairs - go through the events of the Boer War, the Edwardian age, the First World War and its aftermath, ending in the "chaos and confusion" of the depression. The film seems to be fairly closely based on the original Drury Lane theatre production (many of the cast are the same). So when Binnie Barnes delivers "Twentieth Century Blues" (excellently) this is presumably how Coward wanted it sung. Noel Coward's clipped dialogue can't always carry the weight of the themes, and the nobility of the upper-class couple gets a bit wearing, but there are fascinating glimpses of a music hall performance and an Edwardian seaside concert party. The film races through thirty eventful years, and one or two of the tragedies are predictable, but the period detail is terrific. The film is well worth catching.

Widely considered, on the IMDB at least, as one of the least deserving Best Picture winners ever. And I disagree. Yes, there were other great films in 1933: Dinner at Eight, Gold Diggers of 1933, Duck Soup, State Fair, to name a few. This one is, first of all, unusually lavish, in the way Academy voters then tended (and still do, to an extent) to admire. It's from a stage success by a major playwright, and offers spectacle and crowd scenes even the Drury Lane never could have contained. It has a lively, Upstairs Downstairs/Downton Abbey vibe, and the reliable Una O'Connor and Herbert Mundin making the most of the downstairs couple. Clive Brook is a solid patriarch, and if Diana Wynyard tends to play to the second balcony more than she ought, she has some fine quiet moments, too. There are some very well-written scenes (the young couple on the Titanic, Wynyard telling O'Connor off late in the proceedings), some very accurate depictions of what was considered mass entertainment at the time, and some good montages. The constant passage-of-time device of those people and horses parading across the screen does get tired, and one can detect a certain self-congratulatory air in Frank Lloyd's direction; oh, look how capable I am at handling the sheer volume of this. But I'm interested throughout, and can see how it may well have been the most impressive of the Best Picture nominees that year. Give it a break.

I enjoyed this film, not so much as a piece of entertainment that still holds up today, but as a moment frozen both in time and geography. Unlike "42nd Street" and "Dinner at Eight" which are other films from 1933 that I think most Americans would find very accessible today, you might not care for Cavalcade if you don't know what to look for.

This film is totally British in its perspective and it is also very much in the anti-war spirit that pervaded movies between 1925 and 1935 as WWI came to be seen by nearly all its global participants as a pointless war and caused everyone to lose their taste for fighting another.

The British perspective that you have to realize is that the Marryotts are accustomed to being on top - both in the world as England had dominated the globe for centuries, and socially, as they were part of the aristocracy. That didn't mean that they were snobs - they were very friendly and compassionate with their servants. But the point is, they were accustomed to the relationship being their choice and under their control. Suddenly England appears to be on the decline on the world stage and the servants they were so kind to are coming up in the world on their own and don't need their permission to enter society. Downstairs is coming upstairs, like it or not.

Downstairs is personified in this film by the Bridges family, Marryot servants that eventually strike out on their own and into business. Eventually the daughter, Fanny, enters into a romance with the Marryot's younger son. When Mrs. Marryot learns the news she is not so shocked as she is resigned to the fact that this is another sign that her world is slipping away. As for Fanny Bridges, she seems to personify post-war decadence as she grows from a child to full womanhood in the roaring 20's. At one point in the film, as a child, she literally dances on the grave of a loved one. This is not a good sign of things to come.

If the movie has a major flaw it is that it goes rather slowly through the years 1900 through 1918 and flies through the last fifteen years. Through a well-done montage you get a taste for what British life was like during that time - in many cases it looks like it was going through the same growing pains as American society during that same period - but it's only a taste.

Overall I'd recommend it, but just realize that it is quite different in style from American films from that same year.