Looking Forward (1933) User Reviews

A Good Close-up of the Depression

[aimless-46 · 7/10 · 29 April 2006]

Taking advantage of Hollywood's ample supply of British actors in the 1930's, MGM set this depression-era film in an English department store. But the two stars are American actors Lewis Stone (best known for his appearances as Judge Hardy) and Lionel Barrymore. Barrymore received top billing on the titles although Stone's part is considerably larger. Both are a treat to watch, especially their scenes together, and the script (adapted from a play) is high brow enough that the mix of British and American accents is not that disruptive.

Stone is excellent as Gabriel Service, the owner of a financially troubled up-scale department store headed toward bankruptcy as a result of the depression. A competitor offers to buy the store but will not promise to retain the staff. Service is a very paternalistic owner and wants to do what is best for his employees, but he knows that declining the offer puts the long- term financial security of his family at considerable risk.

Barrymore plays Tim Benton, a 40 year employee of the store who is among the first group of laid off employees. At this stage of his career Barrymore's standard character was a version of his grumpy and overbearing Mr. Potter from "It's a Wonderful Life"; the main variation being whether he was a good guy or a bad guy. But in "Looking Forward" he gets to play a meek accountant with total loyalty to Mr. Service and his store. It's a refreshing change of pace and this unusual performance is a good reason to watch the film.

Both men have families who for the first time feel the impact of the depression on their life styles. Service has remarried and his new wife Isobel (Benita Hume) is much younger. She is carrying on not so discreetly with another man and obviously just married Service for his money. For some reason the gold-digging younger wife was a staple of the films during this era.

The title of the film, from a speech made by FDR during the depths of the depression, is explained by the opening credits. The theme is how economic pressures impact personal relationships and aspirations. The early narrative establishes the domino effect of the depression as Benton's layoff also causes the layoff of a struggling mother who helps his wife on a part-time basis. The upbeat ending illustrates the somewhat "Pollyanna" notion that adversity causes people to rise to the occasion and find new ways to be productive.

This pleasant little film is well crafted but nothing spectacular. It is a nice time capsule of the depression era, historically interesting not just because Hollywood felt the need to make an uplifting film, but because viewers flocked to the theatre seeking the comforting and motivational messages delivered by this type of entertainment.

Then again, what do I know? I'm only a child.

Underrated...

[planktonrules · 8/10 · 9 November 2010]

This is one of the better Depression era films I have seen, as it not only encapsulated what this period was like but had exceptional writing that avoided clichés. And, thanks to exceptional acting, it's well worth seeking out the next time it appears on Turner Classic Movies.

The film is the story of two men who work at the same old family department store--the boss (Lewis Stone) and a lowly career employee (Lionel Barrymore). Both men are in trouble at work. Barrymore is reluctantly let go after 40 years on the job. No matter how sentimental and loyal his boss (Stone) is, the company is in serious trouble and cutbacks must take place. And, when Stone realizes his company is about to go bankrupt, he, too, is seriously affected. However, what really makes the movie exciting is how their families react to the crisis. While it seemed less surprising how Barrymore's family responded, Stone's family was exciting to watch. I could say a lot more--but I just don't want to spoil it for you.

The bottom line is that the movie is exquisitely written and acted. It's also a nice film to offer some hope to Depression-weary audiences--and not in a phoney or formulaic manner. If you enjoy this film, also try "Sweepings--another Barrymore film that is about a company in crisis.

L Barrymore lesser known work

[ksf-2 · 7/10 · 28 April 2009]

Set in Great Britain, everyone except Barrymore has a British accent. He is a bookkeeper for a large firm, and is let go by the president of the firm. Filmed in 1933, its a statement on the depression, and the lack of available jobs. How timely that Turner Classics shows this now, as this is occurring today all over the U.S. Barrymore is Tim Benton, father to Elsie (Viva Tattersall) and the dashing Willie ( Douglas Walton). Viewers will recognize Lewis Stone as Mr. Service, the head of the firm that fired Benton. Stone and Barrymore had been in Grand Hotel together in 1932. We see the contrast between Service's family and Benton's family, and how they are all forced to cut back. The actresses playing the wives, Mrs. Benton ( Doris Lloyd) and Mrs. Service ( Benita Hume) were both from England, and came by their accents naturally. Everyone does a fine job, although it DOES run like a play (on which it is based).... we don't really see any character development or emotions... it's all action-based, and moves right along. Directed and produced by Clarence Brown, who had worked several times with Greta Garbo and Barrymore. Garbo was ALSO in Grand Hotel, which may explain the connection to Stone and Barrymore. One of Barrymore's lesser known works.... he made Dinner at Eight (and SIX other films) the same year!

High Quality production

[lorenschoenberg · 7/10 · 29 April 2009]

The story is hackneyed, but the acting (except for Stone's daughter played by Elizabeth Allan) is above average, with both Barrymore and Stone turning in excellent work, as do about a dozen or so character actors, some of whom are outstanding.

But what struck me the most was the quality of the print and of the photography itself. Once I looked up Oliver T. Marsh (brother of Mae), I saw that he he went on to do many major films, and died relatively young. His work his is luminescent, and it's not just the lighting that grabs your attention. Most every shot is placed just perfectly (Clarence brown in inspired form) and the various angles and shades of lights brought as much pleasure as the acting, sometimes even more in the more clichéd and/or staid moments.

Without a doubt, this is a far above average production.

Strong Performances by Barrymore and Stone

[Michael_Elliott · 27 November 2009]

Looking Forward (1933)

*** (out of 4)

Extremely well-acted drama from MGM is a rather depressing tale during its first half only to pour too much sugar during the second part. The film takes place during the Depression as Lewis Stone is forced with the fact that his department store is losing too much money and he is forced to lay off several people including one (Lionel Barrymore) who has been with the company for over forty-years. Soon things are getting even worse and Lewis finds himself nearly broke when someone makes an offer for his store. Barrymore gets top-billing and his name over the title but he's got a rather small role and only appears at the start and end of the film. The movie clearly belongs to Stone who turns in a marvelous performance and really makes this film worth seeking. The Depression-era tone of the film certainly fits in well today and one can't help but feel a lot of the messages being said in this movie could be said today. There are some truly depressing moments in this film including the start where Lewis has to lay off Barrymore. The acting these two give during this sequence is certainly spell bounding as they both perfectly nail the situation and really make you feel everything their characters are saying. Barrymore perfectly captures the depression of his character early on and then matches the happiness that would later follow. Colin Clive of FRANKENSTEIN fame has a small role here that doesn't give him too much to do but fans of the horror genre will still enjoy seeing him. The films title was taken from a speech given by F.D.R. and there's no question that the heart was in the right place even though the final third has way too much sugar than what was really needed. Considering a real Depression was going on, it's understandable that the studio wanted to say something with this film so I'm sure it worked better back when it was released. Fans of the two actors will certainly want to check this one out as both men give wonderful performances.

Impressive story of the Great Depression

[vincentlynch-moonoi · 7/10 · 27 January 2013]

My sense of this film is that it somewhat equates to what Hollywood tried to do during World War II -- yes, propagandize, but for the American cause. Here the effort is to propagandize that ultimately America will overcome the Great Depression. The film is set in England, but it is a Hollywood production, so I suppose the film worked well for both nations.

The film is interesting in several respects. First, it doesn't follow the frivolity that many Depression era films followed, although a few characters begin going down that road, but most pull themselves up with their bootstraps (except for the wealthy wife). Second, it follows two families -- one middle class where the father (superbly played by a rather spry Lionel Barrymore, whose arthritis is already noticeable, but who will still rather agile), and the other a wealthy department store owner (also superbly played, this by Lewis Stone...yes, Andy Hardy's father). Stone has to let Barrymore go as the department store profits tumble, and then it appears that the department store will go under, as well. The film shows both the middle class bread-winner in a state of depression and, at first, feeling helpless. And then, it shows the department store owner fretting and feeling depressed over both losing the store and having to let go all his workers.

There is a happy ending, and there lies the one fault of the film -- had we seen others NOT "making it" in the film, the happy ending would have seemed more realistic. But ultimately it's an uplifting story as Barrymore's family opens their own home-bakery to make ends meet, while Stone's son and daughter pull together to help bring the department store through the storm. And, then both families are reunited as Stone's store begins to buy baked goods from Barrymore's family.

TO be sure, the film is a bit slow, but no more so than many of that era. The strength is in the general plot of the story and the solid acting on virtually all parts. Aside from excellent performances by Stone and Barrymore, more excellence is seen in the roles of Benita Hume (the most unlikable character who leaves her husband, Stone), Elizabeth Allan, Phillips Holmes, Doris Lloyd, and Viva Tattersall. Even Colin Clive, of whom I am no fan, does rather well here.

This little know film is a gem. Highly recommended, and glad to see that it has generally gotten a rather good rating from our reviewers.

Service with a Frown

[utgard14 · 7/10 · 6 May 2014]

Thoughtful, touching story about a wealthy store owner named Gabriel Service (Lewis Stone) who's going broke during the Great Depression while his spoiled family only seems to care about maintaining their lifestyle. Lionel Barrymore plays a long-time employee of the store who is laid off. The contrast between how the two men and their families deal with these hardships is the heart of the story.

Lewis Stone and Lionel Barrymore are both extraordinary. Benita Hume is quite hissable as Stone's no-good wife. Colin Clive plays the loyal second-in-command to Stone. A very subtle performance from Clive, an actor not known for subtlety. A fine supporting cast includes Halliwell Hobbes, Elizabeth Allan, Billy Bevan, and Phillips Holmes. Excellent production that grants us nice insight into the era. Unlike some other reviewers, I felt the ending was good. I guess some would have preferred Lewis Stone shoot himself or Lionel Barrymore blow up the store or something like that. Any movie where pastries figure into the plot heroically is alright with me.

Unfortunately Colin Clive's Part is Quite Small

[kidboots · 8/10 · 5 October 2012]

Phillips Holmes had been lured from the stage in 1929 and proved of immense value to Paramount in the early 30s. Occasionally shallow, when he was given a role with depth ie. "An American Tragedy", he was just fabulous - and he got quite a few of those type of roles. At the end of 1932 he signed a contract with MGM and even though he worked hard in 1933 (9 movies) the roles were not of the quality he had enjoyed at Paramount. "Looking Forward" (taken from President Roosevelt's "splendid" phrase) found Holmes buried in the cast as one of the department store owner's frivolous children.

Lionel Barrymore had just finished making "Sweepings' where he played a ruthless department store manager - now he showed his versatility by his portrayal of Benton, a meek little clerk in Service's Department Store, who, because he has never put himself forward for advancement in the 40 years he has been employed there, is soon to be sacked. After a lifetime of security, Benton now faces uncertainty and his homecoming where he hesitantly tells his family is particularly poignant. Doris Lloyd is very good in her few scenes as his loyal wife - of course the family bonds together.

Gabriel Service's life is not too rosy either - married a second time to a younger woman, Isobel (Benita Hume) who is giving him the run around, his son Michael (Holmes) has never expressed much interest in the business and younger daughter, Caroline (Elizabeth Allan) is only concerned with good times and her dogs. Geoffrey (Colin Clive), Service's supportive office manager, seems to be his only ally. Business hits an all time low and he is forced to sell the store to Stoners - "a nasty, jumped up firm" but a chance meeting with Benton gives him courage to face up to things and carry on the store with the help of his children (his wife having done a runner when things got desperate!!).

The Bentons, far from being down and out, have fallen on their feet and far from being a stick in the mud and not being thought good enough, Benton is now the proprietor of Benton's Cake Shop - he does the accounts, his wife the baking and his son does the deliveries.

MGM had London as the setting for this movie, probably to show that the depression was felt the whole world over. It was helped by the preponderance of British actors - Colin Clive stood out in a subordinate role. At this stage he had just settled in America after a couple of years of tooing and froing between the States and Britain. After this movie he returned to Broadway for "Eight Belles" but it was a disaster and only lasted 17 performances. Elizabeth Allan had just played in the talkie remake of "The Lodger" entitled "The Phantom Fiend" but was soon to make her mark as David Copperfield's mother in David O. Selznick's beautifully realised film.

A missed opportunity

[samhill5215 · 7/10 · 6 November 2009]

Despite my summary I liked this film quite a bit. The actors were all very good, their character portrayals genuine and believable. Nothing else could be expected of the Americans, Lionel Barrymore and Lewis Stone, both or whom were first rate thespians. Of the British actors I am familiar with only three, Benita Hume, Phillips Holmes and Colin Clive and they all acquitted themselves well, especially Clive in a role quite unlike his portrayal of Dr. Frankestein. Overall all actors were very good as was the script if somewhat stagy.

My criticism is directed at the outcome, already criticized by others but for the wrong reasons in my opinion. Many felt its optimism misplaced and unrealistic. I for one don't think so. Call me altruistic but I believe the human race as a whole or as individuals really do excel when faced with adversity. We have an innate ability to be creative when we need it the most. Evolution itself proves that, and perhaps that is why we have it in us.

The missed opportunity has to do with the resolution itself. The emphasis was on the individuals and their ability to find solutions and shape the future. This is where the film shows its American roots. We are a nation of individualists, every one of us a king, master of our own domain and ruler of our destiny. And yet throughout the film I couldn't help but wonder what would have happened had management gathered the work force and collectively addressed the issues facing the business. Service (the Lewis Stone character) felt paternalistic toward his employees and I guess that is commendable but it would have been so much better if he had treated them as partners rather than children. His employees had an equal stake, perhaps even a bigger one because they didn't have the option of being bought out and living out their lives in comfort.

So this is where "Looking Forward" fails. It starts out as a quasi propaganda film when considering the quotations at the beginning and end and the reference to FDR. I wonder where our country would be today if during the Depression the emphasis had been placed on collective action instead. We might have a better sense of our neighbors' plight and a greater willingness to help them out.

looking forward

[mossgrymk · 8/10 · 2 November 2022]

It is a truth universally acknowledged that more people go to the movies to escape their problems than to confront them. This was never more true than in the 1930s when most films sedulously avoided even mentioning the D word, let alone showing people in economic extremis. What audiences got instead, in great profusion, were Andy Hardy, show gals, gangsters and Meeting Cute, to mention just four well trod paths of avoidance.

So, it is always interesting to see a film made during the Depression that focuses on money worries and unemployment. It is especially so when the film is intelligent, realistic (at least until the end) and possessed of good performances by a varied assortment of fine British and American actors, such as this offering from director Clarence Brown. I was particularly struck by the lead performance of Lewis Stone, an early practitioner, along with Spencer Tracy and Irene Dunne, of the always effective Less Is More school of acting. Indeed, Stone's restraint and low key-ness seems to filter down to the rest of the cast. Even veteran scenery chewer Lionel Barrymore gives the furniture a masticatory break, for a change.

Being a Clarence Brown film the pacing is going to be deliberate ( in other words, an hour and twenty minutes feels like two plus) and someone, be it the screenwriters or Brown or all of them, should be shot for that treacly rainbow denouement, but taken all in all this film, set in England (perhaps that enabled a Hollywood studio more easily to make it), will hold your attention. Give it a B.

PS...Of the rest of the cast I was particularly struck with Benita Hume. Sexy and sardonic to Brit perfection. Read where she was married to Ronald Colman and George Sanders. Must check out her other film work.

Lionel Barrymore, less annoying than usual

[marcslope · 6/10 · 4 February 2013]

As a lowly accountant in a big London department store, Mr. B. doesn't wheeze, waggle his eyebrows, or overact in any way. He's pleasingly restrained as a small, passive cog in a large machine, and so is Lewis Stone, not resorting to any Judge Hardy tricks as the sympathetic but staunch corporate patriarch who must reluctantly let him go. Adapted from a stage play by C.L. Anthony (a pseudonym for Dodie Smith, who wrote "101 Dalmations"), this Depression family drama does acknowledge the Depression more than most early-1930s studio product, and it provides a nice contrast in how these two gentlemen's families (Stone's with greed and self- centeredness, Barrymore's with sacrifice and resolve) react to adversity. It's not thunderingly dramatic and kind of peters out, but as MGM prestige product of the day, it's less showy and artificial than many of its contemporaries.

message movie

[SnoopyStyle · 6/10 · 28 September 2022]

Depression era department store owner Gabriel Service Sr. (Lewis Stone) faces financial difficulties. Loyal long-time employee Tim Benton (Lionel Barrymore) gets laid off, but he refuses to blame his boss. Meanwhile, Gabriel's clueless family members are surprised by their troubles and are less supportive of his decision to maintain the store.

The central message seems to be rolling up your sleeves and surviving the Depression. The rich boss is not a villain. He's spending his own money to keep the store going. Benton is using his lemons to make lemonade. As a movie, it's interesting but not that compelling. It's more a series of events rather than a compelling story.

Looking Back on Looking Forward

[wes-connors · 5/10 · 27 January 2013]

With the worldwide Depression threatening to bankrupt his business, London department store owner Lewis Stone (as Gabriel Service) reluctantly dismisses lowly, long-term clerk Lionel Barrymore (as Tim Benton). Although he "got the sack," Mr. Barrymore leaves his 40-year position with no hard feelings. Watch that "Liptons" tea truck Barrymore encounters - it drives around the block with lightning speed. At home, Barrymore's family begins to budget. Meanwhile, the family of Mr. Stone is also told to cut down on expenses. They must consider selling their mansion. While the less than ambitious Barrymore begins selling pasties, Stone considers selling his business to a less than worthy rival...

President Franklin Delano Roosevelt's optimistic phrase "Looking Forward" becomes the title of this interesting drama, which retains evidence of its origin (as "Service") on the London stage. The story shows the Depression causing anguish for both business owner (Stone) and worker (Barrymore), but only hints at any real suffering. The latter is represented in a fine moment between financially strapped Doris Lloyd (as Lil Benton) and poverty-stricken seamstress Eily Malyon (as Mrs. Munsey). Their more wealthy counterpart, Benita Hume (as Isobel Service), simply runs away with one of her lovers...

MGM gives Barrymore over-the-top credit, but the more laid-back Stone steals the film; probably, Stone's character was the original's central figure. It's surprising MGM did not demand a romantic subplot between Stone's handsome son Phillips Holmes (as Michael) and Barrymore's pretty daughter Viva Tattersall (as Elsie). While predictable and overused, a connecting young romance would have balanced the main story lines, further involved the two families, and made the film more popular. Other grown-up children, attractive Elizabeth Allan (as Caroline) and sporty Douglas Walton (as Willie), get to show their stuff. Everyone gets something to do, but it all should have obviously been done better.

***** Looking Forward (4/28/33) Clarence Brown ~ Lewis Stone, Lionel Barrymore, Elizabeth Allan, Phillips Holmes

Misguided

[jaykay-10 · 4 January 2003]

Understandably, but regrettably, this understated drama of sympathetic characters facing a lifetime of honest effort gone to waste is transformed into propaganda for facing the Depression (1930s) with courage and determination. That the filmmakers make a 180-degree turn toward optimism and a (hopefully) better future is commendable in regard to boosting public morale during economically bleak times, but in doing so they sacrifice the touching story that had been developed up to that point.

As a businessman trying to stoically face the demise an operation that has supported his family for generations in comfort and style, Lewis Stone is superb; no less so Lionel Barrymore as a dull, unimaginative clerk whose long-standing devotion to the company gives him a reason to look forward to each day - until he is laid off when the staff must be reduced. Their scenes together are especially moving: low-key, but charged with emotion. All of this, however, goes for naught when the film's "message" is thrust at us during the final twenty minutes. Lewis Stone's despair, along with his conviction that the business cannot possibly survive another six months, is transformed into a resolve that somehow a way will be found to carry on and prosper. Equally unconvincing is Lionel Barrymore's becoming something of an entrepreneur in order to support his family - he who was deemed expendable by the company for lacking ambition and imagination. The upbeat ending may have been exactly what the times called for, but a well-wrought drama was lost in the process.

Better days

[jarrodmcdonald-1 · 21 May 2023]

Recently I watched Lewis Stone as a suicidal gambler in 1949's ANY NUMBER CAN PLAY. It was towards the end of his long career as a character actor at MGM, and it was a real departure for him in terms of the types of roles he usually did at the studio. Most viewers remember him fondly as Judge Hardy or in other earlier films like LOOKING FORWARD, where he was cast as upright, by-the-book father figures.

In addition to Mr. Stone, who is on hand as a wealthy London department store owner, we have another long-time performer from Metro, Lionel Barrymore. Barrymore is playing a more middle class worker bee in the store. It's the Great Depression, times are tough, and Barrymore's being let go. The scenes where he's informed of his lay-off, in which he struggles to understand the loss of a job that has meant so much to him over the years, are quite poignant. Barrymore shows us both the loyalty, rejection and frustration of the situation.

Eventually Barrymore gets back on his feet, since his wife (Doris Lloyd) is an industrious homemaker. Neighbors want to buy her delicious pastries. So Barrymore starts a new food business for them, with help from their grown children (Douglas Walton & Viva Tattersall). It's a tad hokey, but we're meant to see that with determination and resourcefulness, a family suddenly fallen on hard times can bounce back.

Meanwhile, a storyline involving Stone and his own family occurs. They have been spoiled with every privilege and every advantage in life. Unlike Barrymore's kids, Stone's kids (Phillips Holmes & Elizabeth Allan) don't really know how to work or apply themselves. At least, not initially. It isn't until Stone's business is facing bankruptcy that his children are jolted out of complacency and take action to help dear old dad.

While this is going on, Stone's self-absorbed wife (Benita Hume, in a finely portrayed role) is planning to run off with a lover. She doesn't seem think twice about abandoning Stone and their offspring during this time of need. They are a family plunged into crisis.

The film is based on a British stage play by Dodie Smith called 'Service.' The title derives from the work the main characters do, as well as the fact that Stone's surname in the story is Service. Everything is wrapped up nice and tidy at the end. Both families have found new purpose to carry on. Stone and Barrymore develop mutual respect for one another and form a strong friendship. And in the last scene, there's hope as everyone is now looking forward to better days.