La Fin du jour (1939) Review: The Good, The Bad & How to Watch

  La Fin du jour (1939) Review: The Good, The Bad & How to Watch  French Film, Drama English title: The End of the Day Venice Film Festival, 1939- Official Selection National Board of Review, 1939- Winner: Top Foreign Films very actor secretly fears the quiet moment after the final curtain calls stop coming. In the golden era of French cinema, right on the precipice of World War II, director Julien Duvivier captured that exact existential dread with a rare blend of cynicism and aching warmth. Released in 1939, La Fin du jour (known to English-speaking audiences as The End of the Day ) remains one of the most poignant love letters to the theatrical craft ever committed to film.  More on Wikipedia or Mubi  When the Stage Lights Fade: The Bittersweet Magic of Julien Duvivier’s French Masterpiece  et inside the Abbaye de Saint-Jean, a peaceful retirement home dedicated exclusively to broke and aging actors, the story weaves a rich tapestry of men and women who ...

State Fair (1933) Review: The Good, The Bad & How to Watch

 
State Fair (1933) Review: The Good, The Bad & How to Watch
State Fair (1933) Review: The Good, The Bad & How to Watch 

American Film, Comedy, Drama, Romance

Academy Awards, 1934- 2 nominations including: Best Picture
National Board of Review, 1933- Winner: Top Ten Films 
National Film Preservation Board, 2014- Winner: National Film Registry

There is something wonderfully intoxicating about the simple chaos of a county agricultural fair, especially when captured through the lens of early thirties cinema. Long before blockbuster spectacles dominated the cultural landscape, movies like the original State Fair of 1933 understood the quiet magic found in everyday American life. Directed by Henry King and featuring a luminous performance by Janet Gaynor, this pre-Code gem remains a comforting cinematic time capsule that still manages to feel surprisingly human and grounded. More on Wikipedia or Mubi. 

State Fair 1933 Movie Review 

At its heart, the story follows the Frake family as they pack up their prize-winning livestock and homemade mincemeat and head off to the Iowa State Fair. Abel Frake is dead set on winning a blue ribbon for his prized hog, Blue Boy, while his practical wife Melissa hopes her preserves will finally impress the judges. Meanwhile, their two young adult children, Wayne and Margy, arrive with entirely different expectations, mostly hoping to escape the predictable rhythm of farm life and maybe find a bit of romance along the way. What follows is a whirlwind few days where everyone gets a taste of heartbreak, wonder, and the bittersweet sting of growing up.

What makes the film endure is how effortlessly it balances gentle comedy with genuine emotional stakes. Janet Gaynor brings a delicate vulnerability to Margy, capturing that precise moment of youthful yearning when the world feels both vast and terrifyingly uncertain. Will Rogers anchors the entire picture as the warm, easygoing patriarch, radiating a folksy charm that never feels forced or overly sentimental. When the family finally packs up to return home, the film doesn't offer a neat, fairy-tale resolution for everyone, acknowledging instead that a single weekend can permanently alter the trajectory of a person's life.

Watching it today feels like flipping through a faded photograph album belonging to a relative you never knew. It lacks the cynical edge of modern storytelling, replacing it instead with a sincere appreciation for the small triumphs and quiet sorrows of ordinary people. If you are looking for a gentle escape into a bygone era of American storytelling, this classic remains a deeply rewarding destination.

The Good 

On the positive side, the film's greatest strength lies in its remarkable warmth and its ability to capture authentic human emotion without slipping into cheap sentimentality. Will Rogers anchors the entire picture with an effortless, folksy charm that makes the patriarch of the Frake family feel like a real person rather than a caricature. Janet Gaynor brings a genuine, fragile vulnerability to the screen, capturing the bittersweet ache of youthful longing in a way that still resonates today. Furthermore, the film possesses a wonderful documentary-like texture, offering modern viewers a fascinating visual time capsule of an actual American agricultural fair during the Great Depression, complete with its midways, prize hogs, and bustling crowds.

The Bad 

On the other hand, the film struggles at times with a pacing issue that feels distinct to early sound cinema. Because filmmakers were still figuring out how to balance spoken dialogue with visual narrative, certain stretches can feel a bit stage-bound and talky, lacking the fluid momentum we expect from later cinematic storytelling. Additionally, some of the romantic subplots, particularly those involving the children, move with a rushed abruptness that makes dramatic shifts in their lives feel slightly unearned. The resolution for some characters is also brushed over with a comforting gloss that ignores the harsher economic realities of the era outside the fairgrounds, offering a neat narrative bow when a bit more grit might have made the story even more powerful.

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