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It's not just because both Aunt Em and Uncle Henry from THE WIZARD OF OZ appear in this, the message: to be grateful for what you've got, is also the message of this fabulous 'if only you could re-live your life again' story.

I'd generally avoid anything with Lee Tracy in like the plague - I find him the most annoying actor of all time but in this he's surprisingly ok. Under the superb direction of Edgar Selwyn, Mr Tracy's usual crass obnoxiousness is completely transformed into a reasonably sympathetic and likeable character. The production of this from MGM is excellent - Edgar Selwyn is perhaps forgotten about these days but virtually all his films he made in the early thirties are brilliant. He also wrote many of them as well - for this film, he co-wrote it with possibly Hollywood's best writer, Ben Hecht.

Particularly in 1933, people might have wished that they could re-live their lives more so than other years. This film therefore, with its upbeat optimistic message would have been particularly poignant for its audience struggling through The Depression. Watched today it gives us a real sense of what Americans wanted to be told, what comforting reassurances they liked to hear as FDR took over the reins at the height - or rather lowest point of The Depression.

If BACK TO THE FUTURE is one of your favourite films (which of course it should be) then you should enjoy this 1930s take on that theme. Vastly underrated Edgar Selwyn gives us almost as much fun as Zemeckis did fifty years later but being from the early thirties there's a touch of cynicism there too. Although you'd normally associate an attack on snobbery, class division, greed and the exploitation of the ordinary working man with Warner Brothers, all that's included in this as Joe, our hero has the enviable but ultimately unenviable challenge of being wealthy. Fortunately for most of that unfortunate 1933 audience, he learns that love not wealth is the key to happiness To end with an appropriate few words from The Beatles: Money Can't Buy Me Love.

Joe Gimlet (Lee Tracy) owns a cigar store in New York along with his wife Mary (Mae Clarke). They aren't poor, but they do struggle to make ends meet. On March 6, 1933, in walks someone he knew when he was growing up, Ted Wright (Otto Kruger), now a banker. Ted invites Joe and Mary to dinner with him and his wife, Elvina, and tells Joe that if he will give him the four thousand he has in savings, he can turn it into twenty thousand in a few months. Joe wants to do this, Mary does not because it is all they have. They argue, and Joe says that if he could live his life over he would not have married Mary and would have instead pursued wealth. Joe then storms out of their apartment and into the street, and is hit by a car. While he's unconscious, he imagines he gets to live his life all over again, starting in 1910 when he is a young man.

In this alternate reality, Joe takes up Pete Evans (George Barbier) when he offers to let him in on a real estate deal in return for his 400 dollar life savings. He marries Pete's daughter, Elvina, to seal the deal. And since he knows everything that's going to happen through March 6,1933, he's a tremendous success in business, becoming not only a rich but a powerful man. Among the bad things he knew - He figured that his wife would probably two time him since he saw signs of her two-timing Ted in 1933. Joe didn't think he'd mind, but it turns out he does. And then March 6, 1933 comes and he no longer has the advantage of prescience. Complications ensue.

It's not like anything in this film is a big surprise, although time travel was not common story material at the time. It's all about learning to appreciate what you have or, in the words of Dorothy from the Wizard of Oz "There's no place like home."

The make-up job done is pretty impressive for the time - MGM really does make the lovely Mae Clarke look like a middle aged frump at age 23.

MGM really "got" what worked as far as Lee Tracy vehicles. Starting with "The Nuisance" when he came over from Warner Brothers, they always gave him parts that used his penchant for fast talking comedy while letting him show his dramatic chops as well. An example of the latter in this film is when Tracy realizes he's back in 1910, in his boyhood home, and goes downstairs to see his mother cooking breakfast. In 1933 she must have been dead for years, because here he embraces her like he hasn't seen her for years - he hasn't - and tells her he's never leaving her side again. It's a very touching moment that, if you've lost a parent, you can easily relate to.

Lee Tracy ended up throwing away his own career at MGM, as did Buster Keaton, but at least MGM gave Lee Tracy the sporting chance that they never gave Buster Keaton.

Turn Back the Clock (1933)

*** (out of 4)

Minor film about married couple Joe (Lee Tracy) and Mary (Mae Clarke) who run a partially successful cigar shop but one night they get into a heated argument about whether or not they should invest their life savings in the stock market. Joe gets upset because years earlier he could have become rich by investing but Mary wouldn't let him and the same thing seems to be happening. The husband leaves the house drunk and gets struck by a car and he gets his wish by getting to re-live the past twenty years. TURN BACK THE CLOCK has been called an early version of IT'S A WONDERFUL LIFE and there's no question that this does share some connections with the Capra film but this here is still far from reaching a great level. I think the biggest problem I had with the film was that when Tracy goes back to re-live his life, he's well aware of everything that's going on and this allows him to make all the right decisions. I really didn't care about him knowing everything that was going to happen because he had already lived it because these scenes were often played for laughs and I didn't think the comedy worked. Still, this is a fairly entertaining fantasy and I liked how they threw in real events to tell the story including the stock market crash of 1929. Tracy is pretty good in the lead role, although his comedy bits aren't all that good. Clarke, best known for her work in FRANKENSTEIN, is good as the wife and Otto Kruger is very good in his scenes as the friend. The Three Stooges even have a small cameo. I did like the twist that happened towards the end of the movie with our main character and his alternate life. Fans of 30's cinema should enjoy this one even if it has some flaws.

This is the type of fantasy Frank Capra put his stamp on just a few years later. It stars Lee Tracy as a working-class guy who begins to regret his humble life after meeting up with old friends who have become wealthy; he gets his chance to go back in time and live his life over again. Premise has since been used time and again, but here it's given a surprisingly fresh and clear-eyed take. Tracy is the only acting liability among the performers(he's too broad for a subtle picture like this one). It's well-paced, amusing, shies away from mushy sentimentality, and features The Three Stooges--unbilled in a cameo as wedding singers!

A middle-aged shopkeeper is given the chance to TURN BACK THE CLOCK and see what his life would have been like had he made other choices when young.

Human dynamo Lee Tracy animates this whimsical fantasy about second chances. (Somewhat ironic, in that a `second chance' was exactly what MGM would not give Tracy after his spectacular fall from grace in 1934.) This was one of 5 films which Tracy would make for MGM in a very busy 1933, his total output at the Studio. As always, he energizes his every scene. Always engaging & enjoyable to watch, it is a shame that he is almost forgotten today.

Costars Clara Blandick (mother), Mae Clarke (wife), George Barbier (father-in-law), and Otto Kruger (rich friend) all provide very competent assistance, but this is really Tracy's film all the way.

Movie mavens will spot uncredited performances by Charley Grapewin as Tracy's boyhood doctor, and The Three Stooges (Moe & Curly Howard and Larry Fine), playing it straight as singers at Tracy's wedding.

Notice the fine attention to detail which MGM gives the shots of Tracy's hometown - the busy streets and authentic-looking buildings. It was this high level of production value - even for a `B' picture such as this - which was one of the Studio's hallmarks.