Weary River (Frank Lloyd, 1929)

Weary River (Frank Lloyd, 1929)

Cast: Richard Barthelmess, Betty Compson, William Holden*, Louis Natheaux, George E. Stone, Ray Turner, Gladden James. Screenplay: Courtney Ryley Cooper, Bradley King, Paul Perez, Thomas J. Geraghty. Cinematography: Ernest Haller. Art direction: John Hughes. Film editing: James Gibbon, Edward Schroeder. Music: Louis Silvers.

*b. 1862, d. 1932

The Divine Lady (Frank Lloyd, 1929)

Frank Lloyd is a director nobody remembers today except for the fact that he won two best director Oscars. Unfortunately, they were for movies that almost no one except film scholars and Oscar completists watch today: this one and Cavalcade (1933). His other distinction is that his Oscar for The Divine Lady is the only one that has ever been awarded for a film that was not nominated for best picture.* (As if to make up for this anomaly, Mutiny on the Bounty, which Lloyd also directed, won the best picture Oscar for 1935, but he lost the directing Oscar to John Ford for The Informer.) It's a moderately entertaining film about the affair of Emma Hamilton (Corinne Griffith) and Lord Horatio Nelson (Victor Varconi) -- a story better told in That Hamilton Woman (Alexander Korda, 1941) with Vivien Leigh and Laurence Olivier as the lovers. Griffith is one of those silent stars whose career didn't make it into the sound era, reportedly because her voice was too nasal. She was, however, considered* for the best actress Oscar, which went to Mary Pickford for Coquette. She doesn't have to speak in The Divine Lady: Although it has a synchronized music track, including Griffith supposedly singing (but probably dubbed) "Loch Lomond", and sound effects, including cannon fire during Nelson's naval battles, there is no spoken dialogue. The only truly standout performance is a small one by Marie Dressler as Emma's mother: She has a funny slapstick bit at the beginning of the movie, but disappears from the movie far too soon. The cinematography by John F. Seitz (miscredited as "John B. Sietz" in the opening titles) was also considered* for an Oscar, but it went to Clyde De Vinna for White Shadows in the South Seas (W.S. Van Dyke and Robert J. Flaherty, 1928).

*If you want to get technical about it, there were no official nominations in any of the Oscar categories for the 1928-29 awards. What are usually regarded as nominees are the artists and films that Academy records show were under consideration for awards. In Lloyd's case, he was also under consideration for directing the films Drag and Weary River during the same time period, but when his win was announced, only The Divine Lady -- which was not considered for a best picture Oscar -- was specified.

Cavalcade (Frank Lloyd, 1933)

There are lots of forgettable best picture Oscar winners: Who today watches The Great Ziegfeld (Robert Z. Leonard, 1936), The Life of Emile Zola (William Dieterle, 1937), or Gentleman's Agreement (Elia Kazan, 1947)? But Cavalcade may be the most forgettable (and forgotten) of them all. Based on a play by Noël Coward adapted by Reginald Berkeley and Sonya Levien, it's the saga of 33 years in the lives of a wealthy London couple, Robert (Clive Brook) and Jane Marryot (Diana Wynyard). Its portrait of their lives and the lives of their servants may have inspired the popular British TV series Upstairs Downstairs, and through it the even more popular Downton Abbey, both of which cover pretty much the same time period. In Cavalcade, as in the two TV series, the families suffer losses from the sinking of the Titanic and from World War I, and experience the social upheaval of a changing class system. But Cavalcade tries to cram it all into less than two hours, and tends to be more blatantly nostalgic about the passing scene. Unlike the creators of the later TV series, Coward and his adapters didn't have the benefit in 1933 of seeing what effect the events of the first third of the twentieth century would have on Britain and the world. It settles for a bit of prophecy in the form of a montage in which various talking heads rant about disarmament, communism, atheism, Christianity, and other ideologies, including a rather corny scene in a louche night club where same-sex couples seem to be on the verge of making out. (The film is pre-Code, so the strictures against depicting homosexuality haven't kicked in yet, though it's clear that the film -- despite Coward's own sexual orientation -- disapproves of it.) In addition to the best picture Oscar, Cavalcade also won a second Oscar for its director, Frank Lloyd, who had been the first director to be so honored, for The Divine Lady (1929). Wynyard also received a nomination for best actress, losing to a newcomer, Katharine Hepburn in Morning Glory (Lowell Sherman, 1933). Wynyard had a more successful career on stage than in movies. In Cavalcade she tries to register emotion by staring meditatively into the middle distance, which often looks like she has spotted something troubling on the wallpaper. The rest of the cast includes Herbert Mundin and Una O'Connor as the Marryots' servants, and Frank Lawton as Joe Marryot, the younger son, all three of whom would be reunited in a much better movie, David Copperfield (George Cukor, 1935). For the record, some of the films that Cavalcade beat for best picture include 42nd Street (Lloyd Bacon), I Am a Fugitive From a Chain Gang (Mervyn LeRoy), and Little Women (Cukor).