Emma (1932)

Simply Perfect

Good movie but grossly overrated

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Exactly the movie you think it is, but not the movie you want it to be.

I recall an old friend telling me of this thoughtful film years ago. At the time I had little interest in early talkies so made no attempt to see it. Even though, at that time I was watching and enjoyed several vintage gems on TV, it was not until that same dear friend screened several classic's (on 'film' in his home thr) for me, that I came to fully appreciate the importance and power of strong writing, combined with professional craftsmanship, as a serious art form in film making. I imagine many folk today may still not know how to look at a movie like "Emma" ~ even I was wondering if it would sustain me to the end. While I might have edited a short sequence from early on, I soon found myself being drawn in...the striking mobile camera shots, the subtle controlled direction, the changing moods of a well written story. This films young photographer, Oliver T. Marsh ('San Fransisco' '36 ~ A Tale of Two Cities' '36) seemed to work so well with the great humanities director Clarence Brown, each bring such rich imagery to a variety of diverse moods within some unexpected situations. Such a pity this superb image maker was lost to us at just 49 yrs of age - seemingly to the demon booze - more wasted talent!For those who know (or have yet to learn) how to 'read' vintage classics and don't give up too soon, this could prove rewarding. BUT, let yourself run with the varied emotions as situations alter. While this may not be known as one of Clarence Brown's major works, it is never the less, a fine one. Besides, how often do we see an overweight, aging matronly female, as the main 'star' (not easy to sell to the 'glamour' generation) she plays a character who gives unconditional, selfless commitment to her charges (even harder to sell to the 'me' generation). Award winning silent star Marie Dressler manages to convince all the way and gets good support from various troopers of the day, like youngster, Richard Cromwell (the DiCaprio of his day) playing her employers last born son and aviation enthusiast 'Ronnie', Jean Hershold as her gentle inventor employer, with a strong portrayal from John Miljan as the committed District Attorney. In the background is truly glamorous star-to-be, Myrna Loy, not yet in her top billing professional form. It's pleasing to see TCM being more generous with adding some surprisingly long missing pioneering gems!. Keep em' coming please. KenR................

I find Marie Dressler vehicles fascinating, not because I entirely enjoy watching her (she's kind of scary) but I find it so interesting that glossy MGM had a star who was aimed at that whole class of old-before-their-time, world-weary housewives and mothers who would put on their frumpy best, walk in ill-fitting shoes after a long day of doing things for everyone but themselves, and sit down for 75 minutes of intense identification with one of their own. Once labor-saving devices and family planning conquered America, women stopped being so tired and worn at such early ages, and so there's never been another star quite like her; the equivalent audience is seeing things like Mamma Mia! today, fantasies of late-middle-aged youth, not premature old age. In this one she's a housekeeper who is really the only mother a bunch of rich kids ever had; the dad finally marries her in old age, she inherits the estate, and three of the kids come after her to get the money. The setup doesn't entirely bear scrutiny (the spoiled grown kids hardly act like they've even met her before, let alone were raised by her) but it doesn't matter, it's all about her frumpy-old-lady common sense telling the world what's what, a Mr. Deeds for the support hose set, and you can see why her audience ate it up and she got an Oscar nomination.

Watching after her rich employer's motherless brood, elderly housekeeper EMMA finds love in a very unexpected place. But an accusation of murder is only one of the burdens she'll have to bear on her weary old shoulders before she finds a way to be useful again.At the time she made this film, Marie Dressler was Hollywood's greatest star. An unlikely celebrity sensation, with her homely face & shapeless body, Dressler was nonetheless adored by the American public who could sense her basic decency & goodness. For a few brief years she became the nation's grandma, someone with whom the public could feel completely comfortable. Dressler seemed to typify the virtues of hard work & plainspoken honesty - attributes which counted for much in the Great Depression's darkest days.This in no way is meant to denigrate Dressler's talents as an actress; she earned her accolades. She had complete command of her craft, mobilizing her pliable face & large body into capturing & holding first the audience's attention & then their admiration, followed quickly by their deep affection. Marie Dressler was a unique cinematic phenomenon; she stands alone, never replicated, duplicated or effaced - except by the vagaries of fickle time. Today in this new millennium, when her special earthy benevolence is needed more than ever, she is virtually unknown to any but the oldest or most nostalgic of movie mavens.As sole star, and with a script penned by her dear friend Frances Marion, Dressler is given free rein to beguile in EMMA. Whether dealing with tragic death, or engaged in comedic high jinks (Dressler in an airplane simulator run amuck or chasing her lingerie-disgorging suitcase across a crowded train station is nothing less than hilarious) she is as completely unforgettable as she was to prove utterly irreplaceable.Firm support is given by gentle Jean Hersholt as Dressler's kindly employer. As his son, Richard Cromwell gives an energetic performance. Lovely Myrna Loy, not-quite-yet a star, is strangely awkward as Hersholt's spiteful daughter. John Miljan is effective in the role of a relentless District Attorney.

Too bad Marie Dressler became a star only in the last few years of her life (she died in 1934, shortly after making her best-known films like Anna Christie, Min and Bill, Tugboat Annie and Dinner at Eight). From the evidence, her range was incredible -- she could play just about anything but a femme fatale, and that's only because age and girth got to her. In the early 1930s, she appeared in some utterly delightful comedies (Politics; Prosperity; Reducing). Emma is a conventional tearjerker. As the housekeeper/surrogate mom for a brood of kids who go from genteel poverty to riches, Emma, on her way to Niagara Falls for a long-overdue vacation, ends up marrying the widower head of the household. He up and dies, leaving all to Emma. All the kids she loves -- save one, her favorite -- gang up on her (and she ends up losing that favorite anyway, in a "twist of fate"). What's interesting is that a script today would give her an unqualified triumph and the kids their comeuppance. But in keeping with the late-Victorian sensibility of the times (big on self-sacrifice, down on blowing your own horn), the ending, while not tragic or pathetic, is much more low-key.