Make Way for Tomorrow (1937)

No big box office names grace Make Way For Tomorrow, but Leo McCarey put together a great ensemble cast in this story about old age and the consequences thereof in 1937 America. Though Social Security had just passed, no one would see any money from it until 1942 and health insurance was strictly for those who could afford it.

But Beulah Bondi and Victor Moore who are in relatively good health all things considered are not entering the twilight years of a happy life together without some big problems. The family homestead as did many family homesteads during the Depression has been taken by the bank, forcing Victor and Beulah to look to their children for help.

In those days that's exactly what used to happen. But none of their five children can take on both of them, they have no room. So Beulah goes to live with son Thomas Mitchell and his wife and daughter Fay Bainter and Barbara Read. Moore goes to live with daughter Elizabeth Risdon and husband Ralph Remley. In both households the parents are made to feel in the way and in some respects they were.

It was the cruelest kind of punishment to separate two people who spent half a century together. But that's what happens to both. Before the end of the film, the two spend a day in New York reminiscing of lost youth and the good times therein.

Moore and Bondi were around the same age as their 'children' and were made to look much older. Bondi made a specialty of playing much older than she was and in fact did live into her nineties. As for Moore though he was doing character roles now, he was a big comedy star on the Broadway stage going back to the ragtime era. His biggest role on Broadway was co-starring with Fay Templeton in George M. Cohan's 45 Minutes From Broadway.

Especially in the last half hour Moore and Bondi will pull all the emotional restraints from your soul. They really do become an idealized version of parents and grandparents. Make Way For Tomorrow is heartstring touching movie and hasn't dated one bit.

Fmovies: One of the greatest tear-jerkers of all time. The sad tale of how two parents lose their house and not one of their children will let their own parents live with them. I agree, Miss Bondi deserved to win the Oscar that year but what else can I say about that subject. If you ever get to see this film, bring along a box of tissues. Make that two.

I purchased the Criterion Collection DVD of this movie, intending to rip it out of its packaging and watch it straightaway. Instead, I let it reside on the shelf for several weeks, and only got around to watching it a few days ago.

"Make Way for Tomorrow" has joined my very personal list of the greatest American movies. Its direction is so transparent, one might think it wasn't directed at all, but spontaneously happened in front of the camera. The acting is so unforced and natural, you might think you are watching your neighbors. Of course, such acting and direction are really difficult to achieve, so I wonder why I had not come across this masterpiece before.

Orson Welles is reported to have said it could make a stone cry. He was right. When I watched this movie, I certainly cried for the first time in about five years, having been unable to do so before I saw this incredible film that validates cinema. (Why not cry before this? PTSD, father died, partner died, a car hit me resulting in major injuries.) Don't be put off by thoughts of downer subject matter; if you love life and love cinema, you owe it to yourself to see this great, great movie.

Make Way for Tomorrow fmovies. Beulah Bondi gave her greatest performance as a mistreated elderly mother in this bittersweet, highly underrated Leo McCarey gem. Oscar should have noticed. (Actually, McCarey did win the Best Director Oscar that year, for the screwball comedy "The Awful Truth" - also written by Vena Delmar. In his acceptance speech, McCarey thanked the Academy, but said "you've given me this for the wrong film" - referring to "Make Way For Tomorrow.") Believe it or not, Bondi was only 48 at the time of filming, only four years older than the actors playing her children. A marvelous performance, and a lovely film

I've also taped this movie off of TV (Thank you, Turner Classic Movies!) but would love to see it on DVD. The restraint with which this story is told is really quite impressive, but the ultimate result is devastating. As the arrangements with their adult children unravel, even a surprisingly pleasant and romantic day on the town for our elderly couple fails to give us any hope for a happy ending. The performances are uniformly fine, with lovely work done both vocally and with facial expressions; for instance, keep an eye out for Faye Bainter's last look at her mother-in-law. Bainter became one of my favorite character actors after I saw her work as a sympathetic daughter-in-law with troubles of her own.

I'm not being nearly eloquent enough, so let me just say that if you ever get a chance to catch this film, watch it!

It took me a while to get into this one. It's kind of awkward and uncomfortable, but it turns out that's largely the point. The story is about an elderly married couple (Victor Moore and Beulah Bondi) who lose their house to the bank. None of their five children has enough room for both of them, so they end up breaking up, supposedly temporarily, to live in the homes of two of their children. Moore goes with his daughter (Minna Gombell) and Bondi goes with her son (Thomas Mitchell). Much of the movie focuses on Bondi living with her son's family (Fay Bainter is Mitchell's wife and Barbara Read his daughter). It's Hell for all of them. Bondi's old fashioned ways are annoying to the family. She herself feels out of place and confused, having lived with her husband for 50 years. Meanwhile, Moore is having just as awful a time at his daughter's place. The whole picture finds its way to one of the most satisfying and powerful final acts I've seen, where the old couple finally reunites. It's pretty much the first time in the film we see them spend a significant amount of time together, and these two people who seemed so awkward apart feel like a whole together. We see their love, we feel for what they've lost. It's absolutely gorgeous. The very end of the film is a killer. I've never quite seen a film like this (well, Tokyo Story is obviously in part based on this). On a rewatch, I think it may be a lot stronger, but I liked it a heck of a lot this time around.