Yasujiro Ozu
1931 • 90 minutes • 1.33:1 • Japan
Editions: Collector’s Sets, Hulu Plus
Low wage–earning dad Okajima is depending on his bonus, and so are his wife and children, yet payday doesn’t exactly go as planned. Exquisite and economical, Yasujiro Ozu’s film alternates between brilliantly mounted comic sequences and heartrending working-class realities.
Mikio Naruse
1931 • 28 minutes • 1.33:1 • Japan
Editions: Collector’s Sets, Hulu Plus
Mikio Naruse’s earliest available film, Flunky, Work Hard is the rare work by the director not to center around female characters. It is a charming, breezy short concerning an impoverished insurance salesman and his scrappy son.
Yasujiro Ozu
1932 • 100 minutes • 1.33:1 • Japan
Editions: Collector’s Sets, Hulu Plus
One of Ozu’s most popular films, I Was Born, But . . . is a blithe portrait of the financial and psychological toils of one family, as told from the rascally point of view of a couple of stubborn little boys.
Mikio Naruse
1932 • 79 minutes • 1.33:1 • Japan
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In No Blood Relation, a gripping early example of Mikio Naruse’s cinematic boldness, featuring a screenplay by Ozu’s famed collaborator Kogo Noda, an actress returns to Tokyo after a successful stint in Hollywood to reclaim the daughter she abandoned years before.
Yasujiro Ozu
1933 • 101 minutes • 1.33:1 • Japan
Editions: Collector’s Sets, Hulu Plus
The first of many films featuring the endearing single-dad Kihachi (played wonderfully by Takeshi Sakamoto), Passing Fancy is a humorous and heartfelt study of a close, if fraught, father-son relationship.
Hiroshi Shimizu
1933 • 76 minutes • 1.33:1 • Japan
Editions: Collector’s Sets, Hulu Plus
Shimizu’s exquisite silent drama tells of the humiliating social downfall experienced by Sunako after jealousy drives her to commit a terrible crime. With its lushly photographed landscapes and innovative visual storytelling, this film shows a director at the peak of his powers and experimentation.
Alexander Korda
1933 • 96 minutes • 1.33:1 • United Kingdom
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Charles Laughton gulps beer and chomps on mutton, in his first of many iconic screen roles, as King Henry VIII, the ultimate anti-husband. Alexander Korda’s first major international success is a raucous, entertaining, even poignant peek into the boudoirs of the infamous king and his six wives.
Mikio Naruse
1933 • 60 minutes • 1.33:1 • Japan
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In this gently devastating drama, a critical breakthrough for Naruse, he contrasts the life of an aging geisha, whose angry teenage son is ashamed of her profession, with that of her youthful counterpart, a lovely young girl resentful of her family for forcing her into a life of ignominy.
Mikio Naruse
1933 • 65 minutes • 1.33:1 • Japan
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In the formally ravishing Every-Night Dreams, set in the dockside neighborhoods of Tokyo, a single mother works tirelessly as a Ginza bar hostess to ensure a better life for her young son—until her long-lost husband returns.
Raymond Bernard
1934 • 279 minutes • 1.33:1 • France
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Hailed by film critics around the world as the greatest screen adapation of Victor Hugo’s mammoth nineteenth-century novel, Raymond Bernard’s dazzling, nearly five-hour Les misérables is a breathtaking tour de force, unfolding with the depth and detail of its source.
Paul Czinner
1934 • 95 minutes • 1.33:1 • United Kingdom
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A quick-witted and compelling dramatization of the troubled marriage of Catherine II (played by German actress Elisabeth Bergner, in her English-language debut) to Peter III (a randy Douglas Fairbanks Jr.) and her subsequent ascension to the throne as Empress of Russia.
Alexander Korda
1934 • 87 minutes • 1.33:1 • United Kingdom
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Douglas Fairbanks Sr. makes his big-screen swan song with Korda’s deliciously satiric deflation of the Don Juan myth. After having faked his own death and escaped Seville, the aging lothario returns, only to find that he has been forgotten; perhaps Merle Oberon’s beauty can coax him back.
Mikio Naruse
1934 • 88 minutes • 1.33:1 • Japan
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Mikio Naruse’s final silent film is a gloriously rich portrait of a waitress, Sugiko, whose life, despite a host of male admirers and even some intrigued movie talent scouts, ends up taking a suffocatingly domestic turn after a wealthy businessman accidentally hits her with his car.
Kenji Mizoguchi
1936 • 69 minutes • 1.33:1 • Japan
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The independent, unsentimental Omocha and her sister, the more tradition-minded Umekichi, are both geishas in the working-class district of Gion. Mizoguchi’s film is an uncompromising look at the forces that keep many women at the bottom rung of the social ladder.
Kenji Mizoguchi
1936 • 71 minutes • 1.33:1 • Japan
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Osaka Elegy established Mizoguchi as one of Japan’s major filmmakers. The director’s often-used leading actress Isuzu Yamada stars as Ayako, a switchboard operator trapped in a compromising, ruinous relationship with her boss to help support her wastrel father.
Hiroshi Shimizu
1936 • 78 minutes • 1.33:1 • Japan
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Shimizu’s endearing road movie follows the long and winding route of a sweet-natured bus driver—nicknamed Mr. Thank You for his constant exclamation to pedestrians who kindly step out of his path—traveling from rural Izu to Tokyo.
Alexander Korda
1936 • 85 minutes • 1.33:1 • United Kingdom
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Charles Laughton once again teams up with Korda for this moving, elegantly shot biopic about the Dutch painter. Beginning when Rembrandt’s reputation was at its height, the film then tracks his quiet descent into loneliness and isolated self-expression.
Sacha Guitry
1936 • 81 minutes • 1.33:1 • France
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This fleet, witty picaresque about a gambler and petty thief is a whimsical delight. Guitry himself stars as the tricheur looking back fondly on a life of crime, which he narrates with an effervescence matched by that of the film’s skillful editing and cinematography.
Sacha Guitry
1937 • 105 minutes • 1.33:1 • France
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Sacha Guitry plays four roles in this whirlwind of pageantry investigating the history of seven pearls, four of which end up on the crown of England and three of which go missing. The Pearls of the Crown rockets through four centuries of European history with imaginative, winking irreverence.
Sacha Guitry
1937 • 97 minutes • 1.33:1 • France
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Sacha Guitry exchanges his usual top hat for a uniform in Désiré, playing a cavalier valet embroiled in an awkward flirtation with his new employer, played by the actor-director’s real-life wife, Jacqueline Delubac.
Robert Flaherty and Zoltán Korda
1937 • 82 minutes • 1.33:1 • United Kingdom
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Elephant Boy served as the breakthrough showcase for the thirteen-year-old Sabu, whose beaming performance as a young mahout leading the British on an expedition made him a major international star.
Hiroshi Shimizu
1938 • 76 minutes • 1.33:1 • Japan
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A pair of blind masseurs, an enigmatic city woman, a lonely man and his ill-behaved nephew—The Masseurs and a Woman is made up of crisscrossing miniature studies of love and family at a remote resort in the mountains.
Sacha Guitry
1938 • 95 minutes • 1.33:1 • France
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A sparkling four-way affair overflowing with dialogue that showcases writer-director Sacha Guitry’s wit, Quadrille stars Guitry as a magazine editor whose longtime girlfriend—to whom he plans to finally propose—is uncontrollably drawn to a handsome American movie star.
Zoltán Korda
1938 • 98 minutes • 1.33:1 • United Kingdom
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Zoltán Korda’s charged adaptation of a novel by The Four Feathers author A. E. W. Mason features Sabu in his second film role, as the teenage Prince Azim, forced into hiding when his father, the ruler of a peaceful kingdom in northwest India, is assassinated by his own ruthless brother.
Hiroshi Shimizu
1941 • 71 minutes • 1.33:1 • Japan
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Two bruised souls enact a tender, hesitant romance in Shimizu’s alternately poignant and playful wartime love story. A soldier is waylaid at a rural spa when he accidentally cuts his foot on the titular object. Soon enough he tracks down its lovely owner and finds himself smitten.
Gabriel Pascal
1941 • 121 minutes • 1.33:1 • United Kingdom
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Wendy Hiller plays one of George Bernard Shaw’s most memorable and controversial characters, Barbara Undershaft, a Salvation Army officer who speaks out against the hypocrisy she believes exists in her Christian charity organization.
Jean Grémillon
1941 • 84 minutes • 1.33:1 • France
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Jacques Prévert cowrote this atmospheric tale of the romantic trials of a tugboat captain, played by the iconic French star Jean Gabin.
Zoltán Korda
1942 • 106 minutes • 1.33:1 • United Kingdom
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This Korda brothers film is the definitive version of Rudyard Kipling’s classic collection of fables, starring Sabu as Mowgli, a boy raised by wolves, who can communicate with all the beasts of the jungle.
Jean Grémillon
1943 • 110 minutes • 1.33:1 • France
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A shimmering glass hotel at the top of a remote Provençal mountain provides the setting for a tragicomic tapestry about an obsessive love pentangle, whose principals range from an artist to a hotel manager to a dam worker.
Akira Kurosawa
1943 • 79 minutes • 1.33:1 • Japan
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Kurosawa’s effortless debut is a thrilling martial arts action tale, but it’s also a moving story of moral education that’s quintessential Kurosawa.
Alf Sjöberg
1944 • 101 minutes • 1.33:1 • Sweden
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Ingmar Bergman’s first produced screenplay was for the great Swedish filmmaker Alf Sjöberg’s Torment, a dark coming-of-age drama about a boarding-school senior, Widgren, terrorized by his sadistic Latin teacher.
Akira Kurosawa
1944 • 85 minutes • 1.33:1 • Japan
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This portrait of female volunteer workers at an optics plant during World War II, shot on location at the Nippon Kogaku factory, was created with a patriotic agenda. Yet it anticipates the aesthetics of Japanese cinema’s postwar social realism.
Jean Grémillon
1944 • 107 minutes • 1.33:1 • France
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In this uplifting romantic drama, the wife of a mechanic and former fighter pilot falls in love with the idea of flying herself. This soon becomes an obsession, and she undertakes a lofty feat: the longest solo flight ever made by a woman
Akira Kurosawa
1945 • 83 minutes • 1.37:1 • Japan
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Kurosawa’s first film was such a success that the studio leaned on the director to make a sequel. The result is a hugely entertaining adventure, reuniting most of the major players from the original.
Akira Kurosawa
1945 • 59 minutes • 1.33:1 • Japan
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The fourth film from Akira Kurosawa is based on a legendary twelfth-century incident in which the lord Yoshitsune and a group of samurai retainers dressed as monks in order to pass through a dangerous enemy checkpoint.
Ingmar Bergman
1946 • 93 minutes • 1.33:1 • Sweden
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In Ingmar Bergman’s feature directing debut, urban beauty-shop proprietress Miss Jenny arrives in an idyllic rural town one morning to whisk away her eighteen-year-old daughter, Nelly, whom she abandoned as a child, from the loving woman who has raised her.
Akira Kurosawa
1946 • 110 minutes • 1.33:1 • Japan
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In Akira Kurosawa’s first film after the end of World War II, future beloved Ozu regular Setsuko Hara gives an astonishing performance as Yukie, who transforms herself from genteel bourgeois daughter to independent social activist during a tumultuous decade in Japanese history.
Akira Kurosawa
1947 • 109 minutes • 1.33:1 • Japan
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This affectionate paean to young love is also a frank examination by Akira Kurosawa of the harsh realities of postwar Japan. During a Sunday trip into war-ravaged Tokyo, Yuzo and Masako look for work and lodging, as well as affordable entertainments to pass the time.
Ingmar Bergman
1948 • 97 minutes • 1.33:1 • Sweden
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Berit, a suicidal young woman living in a working-class port town, unexpectedly falls for Gösta, a sailor on leave. Haunted by a troubled past and held in a vice grip by her domineering mother, Berit begins to hope that her relationship with Gösta might save her from self-destruction.
Kenji Mizoguchi
1948 • 74 minutes • 1.33:1 • Japan
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Filmed on location in Osaka, Women of the Night concerns two sisters—Fusako, a war widow, and Natsuko, having an affair with a narcotics smuggler—who along with their younger friend Kumiko descend into prostitution and moral chaos amid the postwar devastation surrounding them.
Ingmar Bergman
1949 • 99 minutes • 1.33:1 • Sweden
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An orchestra violinist’s dreams of becoming a celebrated soloist and fears of his own mediocrity get in the way of his marriage to the patient, caring Marta in Ingmar Bergman’s heartbreaking To Joy.
Raffaello Matarazzo
1949 • 94 minutes • 1.33:1 • Italy
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After years of making mostly comedies and literary adaptations, Raffaello Matarazzo turned to melodrama with this intense tale of a tight-knit working-class family shattered by temptation.
Akira Kurosawa
1950 • 105 minutes • 1.33:1 • Japan
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A handsome, suave Toshiro Mifune lights up the screen as painter Ichiro, whose circumstantial meeting with a famous singer is twisted by the tabloid press into a torrid affair. Ichiro files a lawsuit against the seedy gossip magazine, but his lawyer, Hiruta (Takashi Shimura), is playing both sides.
Raffaello Matarazzo
1950 • 98 minutes • 1.33:1 • Italy
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Anna flees her home, where she has been victimized for years by her spineless father’s mean-spirited second wife, to be with her lover, an honest businessman yet to make his fortune. When he is accused of a murder he didn’t commit, the couple’s domestic tranquillity is upended.
Samuel Fuller
1951 • 84 minutes • 1.33:1 • United States
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Despite its relatively low budget, this portrait of Korean War soldiers dealing with moral and racial identity crises remains one of Samuel Fuller’s most gripping, realistic depictions of the blood and guts of war, as well as a reflection of Fuller’s irreducible social conscience.
Akira Kurosawa
1951 • 166 minutes • 1.33:1 • Japan
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The Idiot, an adaptation of Fyodor Dostoyevsky’s masterpiece about a wayward, pure soul’s reintegration into society—updated by Kurosawa to capture Japan’s postwar aimlessness—was a victim of studio interference and public indifference. Today, this “folly” looks ever more fascinating.
Chester Erskine
1952 • 98 minutes • 1.33:1 • United Kingdom
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George Bernard Shaw’s breezy, delightful dramatization of this classic fable—about a Christian slave who pulls a thorn from a lion’s paw and is spared from death in the Colosseum as a result of his kind act—was written as a meditation on modern Christian values.
Raffaello Matarazzo
1952 • 96 minutes • 1.33:1 • Italy
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Nobody’s Children is the first half of an overflowing diptych of melodramas chronicling the labyrinthine misfortunes of a couple torn cruelly apart by fate (and meddling villains).