One More Spring is a 1935 film about three people (Janet Gaynor, Warner Baxter, and Walter Woolf King) living together in the maintenance shed at Central Park as an alternative to living on...
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One More Spring is a 1935 film about three people (Janet Gaynor, Warner Baxter, and Walter Woolf King) living together in the maintenance shed at Central Park as an alternative to living on the streets. The film was written by Edwin J. Burke from the Robert Nathan novel and directed.
In the early 1970s director Henry King was interviewed for the American Film Institute's oral history project, and spoke of this film. "One More Spring was a very popular book. I read it on the train coming from New York and thought it would make a charming picture, but it didn't. People didn't want to see things that were so real, happening around them all the time. It was made as a comedy, but became too serious. It was really a tragedy." He also said: "It would have been great to do it after the Depression, but to do it during the middle didn't work out." See more »
Warner Baxter's auction house has failed, and all he has left is Napoleon's bed. Walter Woolf King is a concert violist, down to his fiddle and a coat with a fur collar. Janet Gaynor is an orphan with even less. At the start of a cold New York winter, they find themselves living in a stable in Central Park, hoping they can hang on until spring.
This wonderful movie about kindness and hope from Henry King has undeservedly vanished from consciousness; Fox Film was falling to pieces until it was rescued and merged with Darryl Zanuck's 20th Century Productions. It was still a major studio, with the resources to produce this sentimental masterpiece, with a perfect cast. Walter Woolf King, usually a villain, is oddly sympathetic as the irascible musician. The rest of the roles are wonderfully played: Grant Withers as a banker despairing as his bank goes under; Roger Imhof and Jane Darwell as the couple who helps them out; even Stepin Fetchit provides some decent comedy relief as a zookeeper from whom they steal his lions' meat.
This movie never reaches the levels of zaniness that the following year's MY MAN GODFREY would achieve; its softer nature offers a message in human decency that its more famous fellow eschews. Its success as a movie, if not commercially, is just as great.
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