No aging parent should go through this treatment

Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, USA

Cary Grant and Irene Dunne in The Awful Truth (1937)

Herbert Marshall, Kay Francis, and Miriam Hopkins in Trouble in Paradise (1932)

Ruth Chatterton and Walter Huston in Dodsworth (1936)

Gary Cooper and Jean Arthur in Mr. Deeds Goes to Town (1936)

Henry Fonda and Barbara Stanwyck in The Lady Eve (1941)

Cary Grant, Rita Hayworth, and Jean Arthur in Only Angels Have Wings (1939)

Don Ameche and Claudette Colbert in Midnight (1939)

Humphrey Bogart, Pat O'Brien, Gabriel Dell, Leo Gorcey, Huntz Hall, Billy Halop, Bobby Jordan, Bernard Punsly, and The Dead End Kids in Angels with Dirty Faces (1938)

Oh, Rhoda! When you're seventeen and the world's beautiful, facing facts is just as slick fun as dancing or going to parties, but when you're seventy... well, you don't care about dancing, you don't think about parties anymore, and about the only fun you have left is pretending that there ain't any facts to face, so would you mind if I just went on pretending?

When a St. Louis Woman Comes Down to New Orleans

Beulah Bondi and Victor Moore in Make Way for Tomorrow (1937)

Beulah Bondi in Make Way for Tomorrow (1937)

Beulah Bondi, Alice Keating, Victor Moore, Joseph North, and Don McKinney in Make Way for Tomorrow (1937)

Fay Bainter and Thomas Mitchell in Make Way for Tomorrow (1937)

Victor Moore

Beulah Bondi

Fay Bainter

Viña Delmar

Josephine Lawrence

Helen Leary

An elderly couple are forced to live hundreds of miles apart when they lose their house and none of their five children will take both parents in.

Leo McCarey

Make Way for Tomorrow

Hard to find classic now on DVD from Criterion

It took me a while to get into this one. It&apos;s kind of awkward and uncomfortable, but it turns out that&apos;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&apos;s family (Fay Bainter is Mitchell&apos;s wife and Barbara Read his daughter). It&apos;s Hell for all of them. Bondi&apos;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&apos;s place. The whole picture finds its way to one of the most satisfying and powerful final acts I&apos;ve seen, where the old couple finally reunites. It&apos;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&apos;ve lost. It&apos;s absolutely gorgeous. The very end of the film is a killer. I&apos;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.

Trailer

https://m.media-amazon.com/images/M/MV5BYTIwZDFlZTQtMTk4Zi00YjQ2LTllOTUtMDQwZTAzZjVhNGNiXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg

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.

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