Beginner's Guide to Classical Hollywood

​It took me a long time in my film journey to realize there was a reason classical Hollywood films are talked about in such high regard. To me, the thought of watching classical Hollywood films instead of an exciting foreign or art house film just seemed boring, but I had a big surprise coming to me. Even through the strict rules of the production code, the filmmakers of the Classical Hollywood era managed to completely subvert my expectations. These films are filled with life and vibrancy. They jump through the screen, and even though they all follow the same structure, they take hold of you every time. I think this goes without saying but watch Citizen Kane (Welles, 1941), Casablanca (Curtiz, 1942), and Singin’ in the Rain (Donen, Kelly, 1952). For this article, I’m going to be focusing on post-code films of the sound era. 

Johnny Guitar  (Ray, 1954)

​Let’s start with the man who made the writers of Cahiers du Cinema go wild: Nicholas Ray. Each of Ray’s films represent a unique facet of Classical Hollywood film and Johnny Guitar is no exception. Johnny Guitar isn’t your grandfather’s western. Lead by the incomparable and powerful, Joan Crawford, this film is the closest we may ever get to having a feminist western. Johnny Guitar has everything: gorgeous Trucolor, a woman in pants, and a song that will remain permanently stuck in your head. 

Joan Crawford and Sterling Hayden in "Johnny Guitar" | Republic Pictures

Cary Grant, Katharine Hepburn, James Stewart and John Howard in "The Philadelphia Story" | Metro-Goldwyn-Mayer

The Philadelphia Story  (Cukor, 1940)

I don’t think any romantic comedy ever had or ever will have the star power of The Philadelphia Story. Starring Katherine Hepburn, Cary Grant, and James Stewart, this film has almost too many markers of a good romantic comedy to bear. It’s a story about socialites, journalists, weddings, divorces, yachts, and midnight swims. Made by one of the most competent directors of the era, The Philadelphia Story is witty, charming, and will make you fall in love with so many men you won’t know what to do with yourself.

Double Indemnity  (Wilder, 1944)

​Double Indemnity is worth watching for Barbara Stanwyck alone, but there are so many more reasons why you should sit down to watch this film right now. Heralded as the quintessential Film Noir, this film acts as a highlight reel for everything good about the genre without feeling inauthentic. Double Indemnity is as cool as a film can be while still drawing the viewer in and making their palms sweat. There is never a dull moment in Double Indemnity. Also, can you even say you’ve seen a Film Noir without seeing one written by Raymond Chandler? My sources say no, baby. 

Fred MacMurray and Barbara Stanwyck in "Double Indemnity" | Paramount Pictures

Judy Garland in "Meet Me in St. Louis" | Metro-Goldwyn-Mayer

Meet Me in St. Louis  (Minnelli, 1944)

​If you ever feel the crushing pressure of your responsibilities weighing down on you, turn on Meet Me in St. Louis to live vicariously through the Smith Family. Judy Garland was at the height of her power when she played love-obsessed teen Esther Smith. The biggest challenges she faces in the film is how to grab the attention of the boy next door, and the potential tragedy of having to move to New York right before the World’s Fair. Directed by Garland’s future husband Vincente Minnelli, this film is opulent, vibrant, and will pluck at each one of your heart strings. Thanks to this film, I now sing the Trolley Song in my head each time I get on the C-Train and I hope you will too. 

The Day the Earth Stood Still  (Wise, 1951) 

​The message of The Day the Earth Stood Still has never been more relevant. Live in peace and everything will be alright. Even though the special effects and set pieces of this film may at first seem dated, they hold up better than many other science fiction films made after with much higher budgets. There’s a simplicity to this film that helps it last through time, and maybe even through space. The Day the Earth Stood Still’s ending will stick with you for a very long time and in this day and age, we need that entirely. 

Michael Rennie in "The Day the Earth Stood Still" | 20th Century Fox

Tony Curtis, Jack Lemmon and Marilyn Monroe in "Some Like it Hot" | United Artists

Some Like It Hot  (Wilder, 1959)

​I know choosing a Marilyn Monroe film may seem a bit too obvious but hear me out. Some Like It Hot holds up surprisingly well for a film about two cross-dressing men. While it has its very obvious flaws, the film has many layers to it. On the outside it is very much a slapstick comedy that uses sexual humour to get the plot where it needs to go. On the other hand, this may be one of Marilyn’s most complex roles. In this film, she plays an alcoholic who needs to use her sexuality to stay afloat in the life that she’s been dealt. She’s open about the abuse and mistreatment she’s had from other men, which makes the betrayal of trust and confidence from Jack Lemmon and Tony Curtis’ characters even more heartbreaking to the viewer. Some Like It Hot definitely needs to be viewed with a grain of salt, but it is still entirely enjoyable and hilarious. Also there are gangster, which in my opinion makes every film better. 

Shadow of a Doubt  (Hitchcock, 1943)

​I bet you thought I was just going to forget about Hitchcock, didn’t you? Shadow of a Doubt encapsulates everything Hitchcock does best. The film works on so many levels to make you wholly uncomfortable. Shadow of a Doubt reaches inside of you and twists your insides but still leaves you question why you felt so uncomfortable. Joseph Cotten gives one of my personal favourite performance ever captured on film. Like Double Indemnity, it will grab your attention, but when it lets you go it will leave you feeling much dirtier than before. 

Joseph Cotten in "Shadow of a Doubt" | Universal Pictures

​I know I haven’t even scratched the surface of all the wonderful films Classical Hollywood has to offer. If you haven’t gotten a chance to immerse yourself in that world, start with these films and then just get lost. My tip: just tune into TCM whenever you have a spare moment. You won’t regret it.