A tree grows in Brooklyn "Lazos humanos" (1945)

Director: Elia Kazan

Dorothy McGuire, James Dunn, Joan Blondell, Peggy Ann Garner, Lloyd Nolan, James Gleason, Ted Donaldson, Ruth Nelson.

A long time ago when I was still working in an automotive shop I taped this movie from KTTV at about three o'clock in the morning, bad reception and commercials and all. The whole thing was a revelation to me. Why, in my years of enjoying all sorts of classic movies at revival houses both in New York and here in Southern California, had I never heard of this movie? For the next three weeks I believe I would come home and watch it almost every day. As an adult child of an alcoholic father, this film moved me in a personal way that I don't think I can even fully investigate, it's just too basic for words. But in terms of cinematic quality alone, this film is a masterpiece. No matter what Elia Kazan did since, we have him to thank for this movie. There is not one false note in the whole of this movie; every actor IS the character they play, most especially Francie Nolan, played to absolute perfection by Peggy Ann Garner. The black and white cinematography is used to its best advantage, the sets are perfect, the music -- contemporary tunes playing along in the background by a rickety-sounding little orchestra -- just "there" enough to provide the auditory backdrop that is the soundtrack of the times, and the emotional intensity and pacing is even, never heavy-handed, and consistent from beginning to end. This is probably the most perfect and authentic film of the black and white era. Hopefully the reason 20th Century Fox has delayed the DVD release is that they're enhancing the package with some special features that devotees of this movie like myself will really enjoy. When the movie came out on VHS I ran to buy it. It will be the same with the DVD.

The Sea of Grass "Mar de hierba" (1947)

Director: Elia Kazan

Spencer Tracy, Katharine Hepburn, Robert Walker, Melvyn Douglas, Phyllis Thaxter, Edgar Buchanan, Harry Carey, Ruth Nelson, William 'Bill' Phillips, Robert Armstrong.

It is unfortunate that Spencer Tracey was cast in the pivotal role of the Colonel, as he sleepwalks thru the entire picture! The emotional fireworks come from the relationship between Katharine Hepburn and Melvyn Douglas, as the illicit lovers. As for Robert Walker in the role of the illegitimate son(and that was quite a stretch in the 1940's), he walks away with the picture! What a pity that Spencer Tracy was cast-it would have been a much better picture without him! It is also a great pity that such a noted director as Elia Kazan was not allowed to film on location, which would have added so much to the ambiance of this picture. As it is, Kazan is able to interject great tension is some of the scenes, most notably in Robert Walker's death scene. A pity Mr. Tracy was not up to the challenge.

Gentleman's Agreement "La barrera invisible" (1947)

Director: Elia Kazan

Gregory Peck, Dorothy McGuire, John Garfield, Celeste Holm, Anne Revere, June Havoc, Albert Dekker, Jane Wyatt, Dean Stockwell.

On the one hand, Gentleman's Agreement has a highly enlightened prejudice, even today, let alone 1947. Gregory Peck plays a journalist who decides to pretend to be Jewish so he can attain a real-life perspective on anti-semitism. Peck's transformation from a determined writer looking for an edge to a crusader against prejudice is nothing short of profound. The twist of course is that Peck gets lost in the assignment, starts seeing himself as a Jew and struggles to maintain his composure amid all the anti-semitism he experiences. Considering that, it's a shame that the film's abilities to tell a story lag so far behind the movie's depth and boldness. There's a lot of emphasis on the romance between Peck and his editor's niece, which is pretty overdone for a pair who has as little chemistry as McGuire and Peck. I think the worst part of that is hearing Gregory Peck referring to McGuire's character as "my girl" like he's in middle school, especially considering I've always associated Peck with characters of tremendous maturity. Additional randomness comes from the fact that the film also focuses on Peck's relationship with his ailing mother, which doesn't have much to do with the central plot at all. What seemed to be an attempt to give a more well-rounded view of the character, the story felt bogged down by those elements. Still, a worthwhile movie, overall.