Leo McCarey’s Make Way for Tomorrow is one of the great unsung Hollywood masterpieces, an enormously moving Depression-era depiction of the frustrations of family, aging, and the generation gap. Victor Moore and Beulah Bondi headline a cast of incomparable character actors, starring as an elderly couple who must move in with their grown children after the bank takes their home, yet end up separated and subject to their offspring’s selfish whims. An inspiration for Ozu’s Tokyo Story, Make Way for Tomorrow is among American cinema’s purest tearjerkers, all the way to its unflinching ending, which McCarey refused to change despite studio pressure. —The Criterion Collection
Los Angeles-born Leo McCarey was, along with Frank Capra, one of the most popular and successful comedy directors of the pre-World War II era. Unlike Capra, however, McCarey’s success endured well after World War II, and like Capra, his work was still influencing filmmakers in the 1990s. Originally an attorney, McCarey entered films by a circuitous route shortly after starting his own practice, beginning as an assistant to Tod Browning. During the 1920s, he went to work for Hal Roach Studios as a gag writer and director and, within two years, was a vice president. It was while at Roach that McCarey teamed Stan Laurel and Oliver Hardy together for the first time, thus creating one of the most enduring comedy teams of all time. As a director, he imposed a frantically paced, breakneck speed to comedy which quickly became his trademark in the 1930s. A triple-threat as writer and producer as well as director, McCarey made some of the most inspired comedies of the decade, including The Milky… read more
Killer poignancy conveyed with a deceptively simple premise: an elderly couple loses their home to foreclosure and are forced to separate when none of their children can or care to host them both. The resilience of the couple's love is both inspiring and utterly devastating. I'm not crying, it's just raining on my face.
Jerry Schatzberg will be at New York's Film Forum this evening for a one-off screening of his 1969 debut feature, Puzzle of a Downfall Child
Given my oft-cantankerous and frequently, in the word of one editor, "pugilistic" rhetorical manner, it may surprise some to learn
Above: "I am not now nor have I ever been..." Yes, they actually do that scene. Since The Forgotten is a home not only to the films that
Above: Victor Moore and Beulah Bondi in Leo McCarey's Make Way for Tomorrow. Courtesy of the Criterion Collection. I've spent so much time