Vale a Pena Viver?

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.

"Little Man, What Now?" is a miserable story. Now I am NOT saying it's bad...but it is hard to watch and even painful to watch at times. It's the story of a young married couple who are struggling just to survive the economic malaise in post-war Germany...where their Depression was far worse than that which hit the States. Jobs were very hard to come by and life was a serious struggle.

When the film begins, Hans and Emma (Douglass Montgomery and Margaret Sullavan) marry. However, Hans works at a peculiar place...where they ONLY employ bachelors and will fire him if he marries! And, there's a constant push to make the company meaner and leaner--and the employees are warned that one could easily be fired! Well, eventually he is exposed and loses the job and they are poor and hungry. He accepts an offer from his mother to move into her place. Yet, when they arrive, you see his mother is a shallow bi...um...not nice person. She wants to charge them rent and only things about herself and her live-in lover (Alan Hale)...and life is STILL a struggle. Fortunately, Hans gets a job...but ends up losing it and they are miserable once again...a pattern that continues throughout the film. And, oddly, despite their financial problems, the couple seem to occasionally plan and spend very poorly.

If you are looking for a feel-good film, this is NOT it!! It's a portrait of the Depression and Depressions are, by their very nature, depressing!! The film is well made and an interesting historical portrait...but how many folks wanna see something this unappealing and awful?! Yes, post-war Germany (1919-1932) REALLY sucked...and here is sucks in spades!!

By the way, you can tell this is a Pre-code movie when the film begins (it came out a few months before the new Production Code was put into effect). Douglass Montgomery's character is standing outside a gynecologist's office...and it says 'Gynecology' on the sign! You'd never see this in Post-Code films of the 30s, 40s or 50s. Well made but dreadful.

Frank Borzage was one of the prize directors at the Fox Studio in the late 1920s; he became the first director to win the Academy Award for SEVENTH HEAVEN in 1927, one of the essential romances of the silent cinema. But by 1932, William Fox was running into trouble, and the finances of Fox were shaky. Borzage had won his second Oscar for Best Director in 1931 for the Fox production of BAD GIRL; two years later, he was working for Mary Pickford's own production company (SECRETS), Paramount (A FAREWELL TO ARMS), Columbia (MAN'S CASTLE and NO GREATER GLORY) and Universal (LITTLE MAN, WHAT NOW?). LITTLE MAN, WHAT NOW? was based on a German novel by Hans Falleda, which had been made into a movie in Germany in 1933. (I haven't seen the German movie.) But LITTLE MAN, WHAT NOW? would be the follow-up film for Universal's new star, Margaret Sullavan, who had made an impressive debut in ONLY YESTERDAY, directed by John M. Stahl. She was known for being temperamental, and she refused several projects before she agreed to star in LITTLE MAN, WHAT NOW?

In some ways, LITTLE MAN, WHAT NOW? is the quintessential Frank Borzage movie, with many scenes and themes which echo his earlier films. There is the young couple, struggling to survive severe economic hardship; there are the effects of the Great War, leaving many with few opportunities. There is even the scene where the heroine appears in a shimmering gown, a radiant moment that is a respite from the general squalor and/or misery (this scene can be found in SEVENTH HEAVEN, in MAN'S CASTLE, in THREE COMRADES). LITTLE MAN, WHAT NOW? takes its young couple (Sullavan and Douglass Montgomery) through various strata of the struggling working class in Germany during the worldwide economic downturn of the early 1930s. Along the way, they encounter a variety of characters, including Muriel Kirkland as the hideously overprivileged daughter of an employer, Catherine Doucet as Montgomery's giddy stepmother, and Alan Hale as her hearty, possibly shady friend. Through it all, Sullavan's empathetic, luminous performance provides the film with its beacon of hope in the midst of turmoil and strife.

This would be the first of four collaborations between Margaret Sullavan and Frank Borzage. (Just for the record, it should be stressed that this film was made at Universal Studios, NOT MGM, where Borzage would start working in 1937; Universal has been one of the studios which has been notoriously problematic in terms of getting their films on various home-video formats, so it's no wonder that LITTLE MAN, WHAT NOW? is unavailable, but asking for MGM to release a Universal film on DVD is an object lesson in futility.)

This is a sadly unknown and obscure film classic from the 1930s and one of my own favorites of all Frank Borzage's love stories.

A very sad and heartbreaking tale of a German couple surviving in a Nazi-occupied town in 1920s Germany, "Little Man, What Now?" was the first Borzage film to attack Hitler and the horrors of Nazism, prefiguring the director's later anti-Nazi masterpieces like "Three Comrades"(1938), "The Mortal Storm"(1940) and "Till We Meet Again"(1944).

"Little Man" is a painfully realistic and terrifying experience, especially the second half; and yet strangely full of hope and affirmation. Margaret Sullavan is as always luminous and touching in her portrayal of Lammchen Pinneberg. It is interesting to compare "Little Man" with Sullavan's other Borzage films like "Three Comrades" and "The Mortal Storm." There's something about her sweet innocence, devotion, and luminosity that works well with Borzage's soft-focus, anti-Nazi attitude. The glittering white dress she wears half-way throughout the film seems to suggest a symbol of light and hope (however transient) for Montgomery and against the brutal 1920s depression milieu, the same way Loretta Young's heartbreaking devotion and sweetness are intended to rescue Spencer Tracy's tough, smart-alecky personality in Borzage's 1933 masterwork "Man's Castle."

As with "Man's Castle", the Depression and, particularly in this case, Nazism are less physical than a spiritual or emotional threats to Borzage's lovers. Despite the bleak, depressing reality the characters have to surpass, both "Little Man" and "Man's Castle" retain Borzage's tender touch and humanity, inviting audience forgiveness for his characters' fragility and vulnerability.

This film will break your heart and should never be missed.

Full of Borgaze's trademark swoony romanticism mixed with a touch of pre-code decadence. This tale of a struggling young couple also boasts Margaret Sullavan's enchanting sensitive performance, she seems to carry a gossamer glow with her where ever she goes. Alan Hale also adds much to the film as a sprightly good-hearted charlatan but what drags it down almost fatally is Douglass Montgomery in the male lead. To put it plainly, he stinks. He's a stiff blank slate that stops the film dead in its tracks whenever he's the focal point of the scene. You're left to wonder what a more effective actor such as Jimmy Stewart or Cary Grant could have made of the part and how much better the movie would have been because of their casting.