Drama / Romance / War

Rotten Tomatoes Critics - Certified Fresh 64%
IMDb Rating 5.8 10 4


Downloaded times
March 15, 2021



Betty Grable as Dance Specialty - Knock Knees
Bonita Granville as Mary Tilford
Una O'Connor as Bess
720p.BLU 1080p.BLU
1.01 GB
English 2.0
23.976 fps
112 min
P/S N/A / N/A
1.87 GB
English 2.0
23.976 fps
112 min
P/S N/A / N/A

Movie Reviews

Reviewed by gsimmers 7 / 10 / 10

A fascinating period piece

If you want to know what the twentieth century looked like to people in the early thirties, this is the film to watch. Two families - upstairs and downstairs - go through the events of the Boer War, the Edwardian age, the First World War and its aftermath, ending in the "chaos and confusion" of the depression. The film seems to be fairly closely based on the original Drury Lane theatre production (many of the cast are the same). So when Binnie Barnes delivers "Twentieth Century Blues" (excellently) this is presumably how Coward wanted it sung. Noel Coward's clipped dialogue can't always carry the weight of the themes, and the nobility of the upper-class couple gets a bit wearing, but there are fascinating glimpses of a music hall performance and an Edwardian seaside concert party. The film races through thirty eventful years, and one or two of the tragedies are predictable, but the period detail is terrific. The film is well worth catching.

Reviewed by gftbiloxi 8 / 10 / 10

Stylistically Dated But Nonetheless Memorable

CAVALCADE is an extremely good example of films made in the first few years following the advent of sound, an era in which actors, directors, writers, and cinematographers struggled to find a new style that could comfortably accommodate the new technology. During this period, many actors and writers were drawn from the stage--only to discover that what seems real and natural in the theatre seems heavily mannered on screen. This is certainly the case with CAVALCADE. The film presents the story of two London families whose lives intertwine between 1900 and 1933. The film begins with the upperclass Marryot family and their servants, Mr. and Mrs. Bridges, facing the Boer War--and then through a series of montages and montage-like scenes follows the fortunes of the two families as they confront changing codes of manners and social class and various historic events ranging from the sinking of the Titanic to World War I. From a modern standpoint, the really big problem with the film is the script. CAVALCADE was written for the stage by Noel Coward, who was one of the great comic authors of the 20th Century stage--but the sparkling edge that seems so flawless in his comic works acquires a distastefully "precious" quality when applied to drama. Although the play was a great success in its day, it is seldom revived, and the dialogue of the film version leaves one in little doubt of why: it feels ridiculously artificial, and that quality is emphasized by the "grand manner" of the cast. That said, the cast--in spite of the dialogue and their stylistically dated performances--is quite good. This is particularly true of the two leading ladies, Diana Wynyard and Una O'Connor (best known for her appearances in THE INVISIBLE MAN and THE BRIDE OF FRANKESTEIN), both of whom have memorable screen presences that linger in mind long after the film ends. The material is also quite interesting and startlingly modern; although it is more covert than such films as ALL QUIET ON THE WESTERN FRONT, CAVALCADE has a decidedly anti-war slant, and the characters in the film worry about where technology (which has produced such horrors as chemical warfare by World War I) will take them in the future. I enjoyed the film. At the same time, I would be very hesitant to recommend it to any one that was not already interested in films of the early 1930s, for I think most contemporary viewers would have great difficulty adjusting to the tremendous difference in style. The VHS (the film is not yet available on DVD) has some problem with visual elements and a more significant problem with audio elements, but these are not consistent issues. Recommended--but with the warning that if you don't already like pre-code early "talkies" you will likely be disappointed. Gary F. Taylor, aka GFT, Amazon Reviewer

Reviewed by Steffi_P 8 / 10 / 10

"Time changes many things"

Unlike the big Oscar winners of later decades, the Best Pictures of the 1930s have largely been neglected (the only notable exceptions being It Happened One Night and Gone with the Wind). Of them all, Cavalcade is perhaps the most rarely remembered, and if remembered at all frequently dismissed as a dated, stagy melodrama, a product of an embarrassing era in cinema's history that even film buffs tend to shy away from, without even the added attraction of some pre-code naughtiness. But are bare legs, innuendo and mean-faced gangsters the only things worth salvaging from this era? The accusations of staginess are not surprising, Cavalcade being adapted from a Noel Coward play. But while Coward may have been a bit of a theatre snob with a naively upper-class attitude, he is not as impenetrably British as he may appear at first glance. Although Cavalcade focuses ostensibly on the concerns of a typical well-to-do English family, Coward strings together his story from universally emotional events, many of which would have related to the lives of people all over the world, and most of which still bear a kick today. Granted, Cavalcade's social conservatism and stiff-upper-lipped fustiness can be a little alienating, but this is not a preachy movie and nothing is forced home or laid on too thickly. Besides, Coward's warm humanism pervades even the most clichéd of characters. The director is Frank Lloyd, himself an unfairly forgotten man of old Hollywood. Many will not understand why Lloyd one an Oscar for his work on Cavalcade, because he does not use any overt camera tricks, but the truth is Lloyd is too much of a master to need any tricks. Many of the claims of stiltedness probably stem from the fact that Lloyd uses a lot of long and often static takes, but there is still subtle and clever technique at work here. Take that first scene of Diana Wynyard and Clive Brook making their preparations for New Years Eve. A large chunk is done without a single edit, yet with a few simple panning manoeuvres Lloyd's camera is smoothly changing the focus and keeping things feeling fresh, at one point having Brook's face appear in the mirror, then following her over to the table where the two of them stand with a garland of flowers framing the lower edge of the shot. Another director might have used a dozen cuts in the same scene, but Lloyd does it with just one or two. And the great thing is you don't notice. Often he will shift our attention from one place to another, but do it by having the camera follow a walking character to disguise the movement, such as the father carrying off a crying child on the beach. In spite of this unostentatious approach, the style is purely cinematic. To be fair however, most of the accusations of theatricality fall upon the cast. I would however describe the performances here as being stereotyped rather than grandiosely hammy. Diana Wynyard was the only Oscar nominee for acting, although she does little here but emote rather wetly. In her favour she does put a lot of expression into her small gestures, and as the picture progresses she ages her character convincingly. More realistic turns however are given by Clive Brook and Irene Browne. The real surprise performance of the lot though is Herbert Mundin. In his many supporting roles Mundin typically played a bumbling yet lovable comedy character, but here he is forceful, passionate and rather moving. Had such a thing existed in 1933, he could have been in line for a Best Supporting Actor award. But, aside from all these qualities, why did Cavalcade of all things appeal to the Academy, which was not exactly cosmopolitan in those days? The answer may be that the mood of the picture was very apt for the times. This was of course the height of the depression, and despite appearances Cavalcade is a rather downbeat affair. The gung ho optimism of the Boer war is replaced by the bitter folly of the World War; characters disappear from the narrative, everyday life becomes increasingly impersonal, until the final scenes are almost despairing. And yet this is not some tale of personal tragedy. Crowds are a constant presence in Cavalcade, with Lloyd using them as a backdrop to a teary farewell, the bookends to a scene or even just a noise heard through a window. In Coward's play characters are killed off in significant events making them symbolic of the losses of a nation. This is a story of great suffering, but it is a story of collective suffering, and this makes it comparable to the most poignant and affecting pictures of depression-era Hollywood.

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