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The World Moves On (1934)

** (out of 4)

Flat look at two families, the Warburtons and the Girards, who are bound by marriage in 1825 and form a business that places parts of the family in England, America and Germany. All is well until WWI breaks out and soon the families are torn on all issues. I've read numerous reports saying that director John Ford never cared for this film and rumor has it that Fox was really hounding him to film screenplays the way they were written and not to go so far off track. Rumor has it that Ford did exactly that here and turned in a pretty lifeless movie just to prove a point to the studio. Of course, this has never been proved to my knowledge but if you watch the film it's easy to see why this might be the case. I've seen dozens of films from the legendary director and there's no question that he's made some duds throughout but THE WORLD MOVES ON should have been a classic but the end result is so lifeless that you can't help but think there was something going on behind the scenes. Ford has always been great at showing patriotism but that's missing here and it plays an important part of the picture. There are many actions scenes scattered throughout but none of them contain any energy and they come across so flat that it seems like they just set the camera up and started shooting without trying to do anything special. This is especially true during some horrendous comedy moments with Stepin Fetchit, which are just so embarrassing that you really wonder what the director was thinking. I know Fetchit appeared in several Ford films and the image that he plays rubs a lot of people the wrong way but no matter how you view it the way the character here is used is just bad. Performances are pretty good from the leads (Franchot Tone, Madeleine Carroll, Reginald Denny) but they're certainly letdown by the direction. The look of the film is quite good and there's a very interesting story here but sadly it just never comes to life. I think with more care there's a classic movie here.

There is one bit of dialog that I feel needs to be revisited. The husband says "Are you ready dear?" to his wife before she drops him off at a train station. Her response: "Of course dear, I've been ready for over an hour." This, which is a statement that has never been uttered again by a wife whilst getting ready to be somewhere, and the character Dixie played by Stepin Fetchit (it's surprising how offensive his character plays almost 80 years after this movie was made), are the only two memorable parts in this multi-generational tale directed by John Ford. I don't mean to trivialize this great artists' work, as he earned every accolade ever thrown his way, but this is a hiccup in a nearly flawless career. There are lessons to be learned here about avarice and lust for power, but they're sort of brushed over, because, as it turns out it's difficult to tell a story that spans 100 years in under 2 hours. Just remember to put those who love you and have stuck by you first and you don't need to spend the time seeing this. Rating 16/40

Part of a seemingly endless stream of WWI films that attempted to process the trauma of that war or bemoan the fact that it happened and was the most barbaric one in recent memory. The World Moves On falls more comfortably into the former camp, although the way in which it conflates familial loyalty and national comity, particularly through the avenue of financial connectedness, comes off a little tone-deaf. And to be honest, the central drama of the family weathering the tides of time was rather tepid and uninvolving, for the most part. The film's strongest segment was the war itself, which captured its chaos and neverendingness in an extended montage. The film's ending attempts to reconcile the impending feeling of another war on the horizon with the hope that the "family" will continue on as before. But when that "family" is so tied up with Old World sentiments that, through blindness and idealism, led WWI to sneak up on them, it rings hollow. Those Old World certainties are dead, and the liberal myopia that led them into the conflict needs to die as well. As a film, I admire the craft that John Ford put on display, but it left a bit to be desired thematically.

Most notable for being the very first movie passed by the Hays Office at the birth of the Motion Picture Production Code, receiving Certificate #1 from the board, John Ford's The World Moves On is worthwhile for more than just that historical footnote. A family saga akin to Anthony Mann's The Furies, it tells the story of a large cotton conglomeration with presence in the US, England, France, and Germany begun in the 1820s as it enters the 1910s and The Great War rears its ugly head. Loyalties get crisscrossed as the backdrop to a love story between two people, and then the movie doesn't find its narrative resolution for another decade. Contemporary reviews complained of the film, calling it way too long (a curious charge with a film that's about 100 minutes long), but I disagree. It's about half an hour too short.

The film begins in 1825 at the reading of the will of the Girard patriarch, cotton baron. His will sets forth the demands that his heirs split the company into four, one for each country, and run it in a way that puts the family and its needs first. In all of this is Richard Girard (Franchot Tone), set to take the reins of the American operation based in Louisiana. He sees the wife of a cousin, the beautiful Mrs. Warburton (Madeleine Carroll). They have a spark, but they are soon to be separated by thousands of miles and the Atlantic Ocean when her husband takes control of the English operations.

One of the more interesting things about the film is that Tone and Carroll play not only these 1824 characters but also their progeny in 1914. Richard's great grandson, also named Richard, is prepared to welcome the different branches of the family back in America for a celebration at the nearly 100 years of great work they have all done, and invited is Mary Warburton, great granddaughter of Mrs. Warburton. She is engaged to the German cousin Erik von Gerhardt (Reginald Denny), but when Mary and Richard meet, it's like the spark that their ancestors had shared carried over the years and they instantly feel a connection. There's falling in love at first sight in movies, and then there's providing interesting subtext and even a sense of magic to the idea.

The family is coming together to celebrate 90 years of success, and also to talk about the impending sense of war that is gripping the world. It's obvious that they'll need to strengthen their ties and gird for the upcoming disruption, and then they split to do their parts in the different parts of the world.

When war breaks out, Richard is in France, and he joins up with the French army to fight. Like Hawks' The Road to Glory and Ford's own Pilgrimage, most of the footage of battle is taken from the French film Wooden Crosses, and like Pilgrimage, the battle material is never the point. It's a small sliver of the larger story that Ford is trying to tell, and that story is the fraying of the family in the face of a world war. When Richard goes to England on leave, he meets up with Mary and quickly marries her, effectively ending her engagement to Erik. The family is unable to move goods from one branch to another because of the dangers at sea as well as the embargoes countries are putting up.

The war ends, and it feels like the story is going to come to an end as well. This is where the complaints that the movie is too long come from. With about twenty minutes left, we get the Roaring 20s where Richard becomes a megalomaniacal power mad businessman, making Mary feel abandoned in the process, and then the Stock Market Crash that brings everything down all of a sudden. The two have to move back to Louisiana from New York to rebuild. Thinking of the saga part of family saga, I really wanted this part to be at least an hour long, detailing Richard's change into a giant butt obsessed with money over family in the easy money times of the 20s after the hardships of the 10s. Instead, we get a contracted bit that feels like an extended coda that just happens to have some of the most important story bits in it.

Overall, the film is pretty good. A condensed saga that really could have either used more time to tell its full story or an earlier end point at the conclusion of the part of the film about the war. It's solidly made (even though Ford seemingly wanted nothing to do with the film during production) and acted. It could have been much more than it ended up being, but what it is ends up good enough to entertain.

This 1934 movie is largely unknown and considering it was directed by John Ford this may seem surprising .Yet even quite exhaustive surveys of his work either omit references to this movie entirely or else give it only a passing mention.Now that I have seen it I feel that this is not really surprising after all .It is bombastic ,muddled and confused ,with a -for me -unacceptable pacifistic line .It is the product of an isolationist mind set and I found it morally repugnant .Thankfully ,it is not very good and so it is possible to dislike it on artistic grounds as well.

In form it is a family or dynastic saga ,split into a number of eras .It opens in 1825 in New Orleans as the family of a dead fabrics baron assemble for the reading of his will .The estate is split between branches of the family in the US -as represented by Franchot Tone -,England ,France and Germany .The rest of the action is this segment consists of Tone killing a ,man in a duel for insulting Madelaine Carroll.She and Tone have a mutual attraction but she is engaged to someone else and the affair is not consummated .

The movie then moves forward to Europe immediately before World War 1 .The family gathers for a dynastic wedding .Tone and Carroll re-appear ,both playing descendants of the people they portrayed in the opening section of the movie.There are hints -conveyed by their response to a particular piece of music -that they have some kind of "deja vu" connected with their ancestors previous relationship but this potentially intriguing theme is never pursued .War breaks out and the family splits on national grounds .Tone joins the French Foreign Legion to take up arms against Germany but others respond in less sensible ways.Carroll defies the orders of the government and refuses to make munitions (an act of treason which bizarrely Ford seems to agree with)while a key member of the French side of the family joins the priesthood as a gesture against the war .

The last part of the movie takes place in the 1920's .Tone is now a tycoon and an absolute megalomaniac driven by greed and a lust for power.The crash of 1929 sees him reappraise his life and values and take a "peace ,love and understanding ,man" approach to life .

There are some good things about the picture .The scenes of wartime action ,without recourse to graphic violence ,do depict the horrors of war well but overall this is a sprawling mess of a movie .The episodic structure and the obvious striving after "significance "allied to a propensity to preach at the audience make it tedious .The last 10 minutes is essentially a lightly dramatised and sententious pacifist tract and as wishy washy as such farragoes of nonsense invariably are .One section is particularly offensive ,It involves newsreel footage of Hitler ,Mussolini and Japanese militarists and the British navy .