Elephant Boy (1937) Review: The Good, The Bad & How to Watch British Film, Adventure Venice Film Festival, 1937- 2 wins including: Best Director National Board of Review, 1937- Winner: Top Foreign Films Long before CGI could conjure up entire jungles at the click of a button, cinema had to rely on the real deal. In 1937, Robert Flaherty and Zoltan Korda teamed up to deliver Elephant Boy , an adventure film that stands as a fascinating bridge between raw documentary realism and classic Hollywood storytelling. More on Wikipedia or Mubi The Raw Magic of Elephant Boy The movie is adapted from "Toomai of the Elephants," a short story out of Rudyard Kipling’s iconic The Jungle Book . It follows a young, spirited Indian boy who dreams of becoming a great hunter, just like his father and grandfather before him. When a massive elephant hunt is organized, Toomai sets out to prove his worth, forming an unbreakable bond with a legendary, giant elephant named Kala Nag. W...
The Front Page (1931) Review: The Good, The Bad & How to Watch
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The Front Page (1931) Review: The Good, The Bad & How to Watch
American Film, Comedy, Romance, Screwball Comedy
Academy Awards, 1931- 3 nominations including: Best Picture National Board of Review, 1931- Winner: Top Ten Films & 2010- Winner: National Film Registry
Long before the digital age turned news into a series of silent notifications, the world of journalism was a loud, smoky, and dangerously charismatic theater of the absurd. If you want to see exactly where that cinematic obsession with the "rogue reporter" began, you have to look back at the 1931 pre-Code classic, The Front Page. This isn't just an old movie; it’s a high-octane blast of pure adrenaline that captures the cynical, beating heart of the newspaper business. More on Wikipedia or Mubi
The Fast-Talking, Ink-Stained Chaos of The Front Page
The story centers on Hildy Johnson, a crack reporter who is desperate to trade in his typewriter for a domestic life and a wedding ring. But in the world of 1930s Chicago, getting out of the news game is harder than catching a bullet. His editor, the legendary and morally flexible Walter Burns, isn't about to let his best writer walk away—especially not when there’s a massive execution story breaking and a fugitive hiding in a roll-top desk.
What makes this specific 1931 version stand out, even after decades of remakes and reinterpretations like His Girl Friday, is its raw energy. Directed by Lewis Milestone, the film broke the mold of early "talkies" which were often stiff and stagelike. Instead, the camera sweeps through the press room with a restless intensity, mirroring the frantic pace of men who live on caffeine and deadlines. The dialogue doesn't just flow; it crashes into the room. It’s snappy, ruthless, and filled with the kind of dark humor that only people who deal with the world's tragedies for a living can truly master.
Watching it today, you realize how much of our modern media tropes started right here. The tension between personal ethics and "the scoop," the way the truth is often massaged for a better headline, and the strange, unbreakable bond between colleagues who drive each other crazy. Pat O'Brien and Adolphe Menjou deliver performances that feel surprisingly modern, dodging the melodrama common in that era for something much more grounded and gritty.
It’s a fascinating time capsule of an era when the printing press was king and the newsroom was the wildest place in town. If you’re a fan of sharp writing and characters who value a good story over a quiet life, this 1931 gem is the definitive blueprint for every newsroom drama that followed. It’s loud, it’s messy, and it’s a hell of a lot of fun.
The Good
The most striking thing about this film is its sheer speed. While most movies in 1931 felt like filmed stage plays where actors stood perfectly still to catch the microphone, Lewis Milestone kept the camera moving. It feels alive. The dialogue is legendary—it’s that "rat-a-tat" Chicago style where characters step on each other's lines and talk with a cigarette dangling from their lips. It perfectly captures that cynical, ink-stained atmosphere of the old-school press room.
Adolphe Menjou is also a standout as Walter Burns. He plays the editor not as a villain, but as a man possessed by the news, and his chemistry with Pat O’Brien’s Hildy Johnson sets the gold standard for every "frenemy" dynamic in cinema history. It’s also a "pre-Code" movie, which means it has a bite and a layer of corruption that feels surprisingly honest and bold compared to the sanitized films that followed just a few years later.
The Bad
On the flip side, if you aren't used to early sound films, the audio can feel a bit harsh. There’s a certain shrillness to the recording technology of the time that can be taxing on the ears during the louder shouting matches.
The film also shows its age when it comes to social sensibilities. Because it’s a product of the 1930s, there are casual stereotypes and a dismissive attitude toward women and certain minority groups that can be jarring for a modern viewer. Additionally, while the "newspaper man" trope is charming, the unrelenting cynicism might feel a bit exhausting if you're looking for a character with a traditional moral compass. Everyone in this movie is out for themselves, which makes for great drama but leaves you with very few people to actually root for.
_poster.jpg "The Front Page (1931)")
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