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The First Hundred Years (1938)

Passed | | Comedy, Drama | 12 March 1938 (USA)
David and Lynn are a happily married couple. When David gets his dream job in another state, Lynn, a high-powered executive, doesn't want to leave NYC and her job.

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Writers:

(screen play), (original story)
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Cast

Complete credited cast:
...
David Conway
...
Lynn Conway
...
Harry Borden
...
Claudia Weston
Alan Dinehart ...
Samuel Z. Walker
...
Uncle Dawson
...
Midge
Donald Briggs ...
William Regan
Jonathan Hale ...
Judge Parker
E.E. Clive ...
Chester Blascomb
...
George Wallace
Torben Meyer ...
Karl
Bodil Rosing ...
Martha
Irving Bacon ...
Wilkins
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Storyline

David and Lynn are a happily married couple. When David gets his dream job in another state, Lynn, a high-powered executive, doesn't want to leave NYC and her job.

Plot Summary | Add Synopsis

Taglines:

Bob loves Virginia! Virginia loves Bob...but she's CRAZY about her career! A million laughs...as the love-sparks fly! See more »

Genres:

Comedy | Drama

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

12 March 1938 (USA)  »

Also Known As:

The First 100 Years  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

This film received its initial television broadcasts in Los Angeles Wednesday 5 June 1957 on KTTV (Channel 11) and in San Francisco 22 January 1958 on KGO-TV (Channel 7); its earliest documented telecast in New York City took place 28 July 1963 on WCBS (Channel 2). See more »

Goofs

As Lynn's plane takes off on her flight from New York to Los Angeles, very early in takeoff you can see a large palm tree out the plane's windows. It's rather obvious the background footage was shot in California. See more »

Soundtracks

Tiger Rag
(1918) (uncredited)
Written by Edwin B. Edwards, Nick LaRocca, Tony Sbarbaro, Henry Ragas and Larry Shields
Played on the organ by Rex Evans
See more »

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User Reviews

 
As the Germans would say, "the fat years are over."
9 March 2006 | by (Los Angeles) – See all my reviews

Just wanted to put a good word in for this movie, since the other posters seem to have been taken in by its perfunctory happy ending. What we have here is an unspectacular but fascinating curio, an end-of-an-era film made by Richard Thorpe around the same time he made Night Must Fall, which would be the culmination of Robert Montgomery's progression from charming bounder to seedy, syphilitic cad ( Jude Law is currently on the same path. ) This is where the elegant swells of MGM's 1930's stable, sensing that youth has passed them by, begin to show their true malevolent, selfish being -- and indeed, Montgomery like James Stewart, the most ingratiating stars of their era, would later become wizened arch-conservatives.

The First 100 Years would have had more weight if it had starred Joan Crawford instead of Virginia Bruce, but then again, Bruce brings a vulnerability to the role that makes up for her less than iconic stature. Bruce's character is a woman who is imprisoned in her time, and it's only a short step from the end of this film to La Notte or Diary of a Mad Housewife. Happy ending? Yeah, and Preminger's endings are giddy! Sad that the broad Jon Stewart kind of irony has replaced people's appreciation of a quieter, more insinuating kind that you'll find in Henry James and which movies necessarily thrive on, as directors and writers have to slip the truth through the back door. You have to pay more attention to the tonality of the thing, rather than the events depicted.

Richard Thorpe, a journeyman director who suddenly flared up in the late 1930's with a series of incredibly bleak and, yes, even Jamesian films -- such as Man-Proof and, though I haven't seen it, "Love is a Headache" must surely deal with the same themes -- before settling down once again into routine swashbucklers, provides many interesting touches, such as an organ installed in Montgomery's living room, replacing the usual cocktail-party piano with soupy dirges. Except for this organ, Thorpe constructs the whole movie almost entirely without music, and many scenes start with a bubbly chip-chip-cheeree kind of mood only to disintegrate into awkward neurosis and recrimination. He is obviously not working with material as strong as he had for Night Must Fall, but this is a must-see pendant for fans of that unsurpassed existential masterpiece.


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