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"Make Way for Tomorrow," Leo McCarey's quiet tragedy about an elderly couple who are left with few choices when their adult children are reluctant to take care of them, is one of those films that grows in stature the more you think about it.

On one hand, it's a bit heavy handed and simplistic in the way 1930s films frequently were and which makes them seem dated now -- the parents are a bit too saintly, the children a bit too awful. As a study of characters, the film would have been more interesting if it had provided some insight into why the children turned out the way they did and what role the parents played in shaping them into the selfish adults they become. The children would have been more interesting if they had been portrayed more humanely; Thomas Mitchell, as the oldest son, is the only one who comes across as something other than a selfish horror.

But the film is more interested in examining a social topic than it is in exploring characters, and in that way it feels ahead of its time, even if its sophistication doesn't fully sink in until after you've had some time to think about the movie. For a 1937 film, it's extremely unsentimental when it might have been downright maudlin. The parents move about with a resigned air, and the film doesn't pander for sympathy. As one of the extra features on the DVD points out, audiences aren't interested in movies about old people even now, let alone then. And we haven't gotten much better at the way we view and treat the elderly in the 70+ years since "Make Way for Tomorrow" debuted. One of the things I liked best about the movie -- and that makes it still incredibly relevant -- is that it shows how dismissive younger generations are about older people, and how children seem to think their parents don't have lives outside of them. As portrayed brilliantly by Beulah Bondi and Victor Moore in the film, these two doddery folk have a rich history together; they had a life before children and they have a life after; they have things to teach, wisdom to impart, and they're very sharp and astute about what's going on around them. One of the biggest tragedies in the film is something that goes almost unspoken, and that's the disappointment they feel in their children but won't let their children see.

The final sequence of the movie is downright magical, when Bondi and Moore blow off their children to revisit the haunts of their honeymoon. It's funny, sad and almost unbearably poignant without being schmaltzy, thanks partly to the low-key direction of Leo McCarey but mostly to the wonderful performances of the two actors.

A lovely film.

Grade: A

One of the few American movies to look seriously (and reasonably honestly) at old age, this 1937 melodrama won wonderful reviews, but apparently it was so sad that audiences couldn't bear to look at it. While McCarey was justly celebrated for his sensitive direction, let's start with the shrewd, shaded screenplay, where nobody's entirely good or bad: The children do mean well, but let selfishness intervene; the aged parents are victims, but they're also unavoidably inconvenient and occasionally annoying. It is, unfortunately, a timeless topic -- parents turning into dependent children, children turning into their parents' parents, and the government yammering ineffectually about the problem decade after decade.

McCarey spins the tale out with subtle humor -- just a wink from Victor Moore, a visual aside by Beulah Bondi, says more than several lines of dialogue would. Plus, this is a couple whose passion has survived the years; they can't keep their hands off each other. The notion's a bit hard to swallow, perhaps a contrivance to tilt the viewer's sympathies more in their direction and away from the thoughtless middle-aged kids. But it does work dramatically and makes the last 20 minutes or so almost unbearably poignant. And the last shot, of Bondi, is unforgettable; it's up there with Garbo in "Queen Christina."

I purchased the Criterion Collection DVD of this movie, intending to rip it out of its packaging and watch it straightaway. Instead, I let it reside on the shelf for several weeks, and only got around to watching it a few days ago.

"Make Way for Tomorrow" has joined my very personal list of the greatest American movies. Its direction is so transparent, one might think it wasn't directed at all, but spontaneously happened in front of the camera. The acting is so unforced and natural, you might think you are watching your neighbors. Of course, such acting and direction are really difficult to achieve, so I wonder why I had not come across this masterpiece before.

Orson Welles is reported to have said it could make a stone cry. He was right. When I watched this movie, I certainly cried for the first time in about five years, having been unable to do so before I saw this incredible film that validates cinema. (Why not cry before this? PTSD, father died, partner died, a car hit me resulting in major injuries.) Don't be put off by thoughts of downer subject matter; if you love life and love cinema, you owe it to yourself to see this great, great movie.

It took me a while to get into this one. It's kind of awkward and uncomfortable, but it turns out that's largely the point. The story is about an elderly married couple (Victor Moore and Beulah Bondi) who lose their house to the bank. None of their five children has enough room for both of them, so they end up breaking up, supposedly temporarily, to live in the homes of two of their children. Moore goes with his daughter (Minna Gombell) and Bondi goes with her son (Thomas Mitchell). Much of the movie focuses on Bondi living with her son's family (Fay Bainter is Mitchell's wife and Barbara Read his daughter). It's Hell for all of them. Bondi's old fashioned ways are annoying to the family. She herself feels out of place and confused, having lived with her husband for 50 years. Meanwhile, Moore is having just as awful a time at his daughter's place. The whole picture finds its way to one of the most satisfying and powerful final acts I've seen, where the old couple finally reunites. It's pretty much the first time in the film we see them spend a significant amount of time together, and these two people who seemed so awkward apart feel like a whole together. We see their love, we feel for what they've lost. It's absolutely gorgeous. The very end of the film is a killer. I've never quite seen a film like this (well, Tokyo Story is obviously in part based on this). On a rewatch, I think it may be a lot stronger, but I liked it a heck of a lot this time around.

One of the greatest tear-jerkers of all time. The sad tale of how two parents lose their house and not one of their children will let their own parents live with them. I agree, Miss Bondi deserved to win the Oscar that year but what else can I say about that subject. If you ever get to see this film, bring along a box of tissues. Make that two.