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Although the Warner Bros. Output during this time was generally seen as one of gritty social commentary on the hardship facing the masses of the period, the studio still maintained a sense of thrill and excitement for the viewer. 42^nd Street (1933) is the strongest case for the ideal of glamour and distraction many hoped to gain by going to the cinema. The film follows an established Broadway director who is struggling financially, in keeping with Warner Bros. Remaining in tune with wanting to keep their catalogue relatable to the many, who is seeking to create a final grand farewell to his esteemed career. One of the key aspects in the studio wanting to provide the audience with a degree of escapism is the opportunity for viewers to glorify and mystify the stars of the film, the notion of fantasy that preludes the musical offers as an adequate propeller for the imagination of the viewer to further idolise the star of the film, in this case Dorothy (Bebe Daniels), the central point of Marsh’s project. Given the hard economic realities of the times, Warner Bros. Via the musical genre offered audiences the chance to form a vicarious “emotional bond” with the star, adding to the gravity of the plot unfolding and the subsequent sentiment, from the perspective of the viewer of a romantic escapism (Addis, and Holbrook, 2010).

A further testament to Warner Bros. Diversifying the widening perception of their catalogue is the 1934 film Dames. Often depicting a more intricate plot with more complexity to the characters, particularly the female characters in the film. This film, while maintaining the escapism that is expected with the musical genre is one that further explores the struggles that people faced during economic peril. We can note the female characters in the film as people with very limited options regarding employment and as people whose morality may be put into question in different financial contexts, however in the film they are fairly and excitingly depicted as resourceful and professionally eager. This provided a fresh backdrop for audiences to view the musical and all the spectacle that comes with it with more universal humanity is seeing a complex commentary on gender regarding the starvation of economic opportunity, not just for the forgotten veterans often depicted in a post WWI scenario, but also for the women of the time who were often overlooked and treated as helpless concerning their capacity to earn a potentially flourishing living. This pretext for the place of women in the 1930’s provided Warner Bros. With a gap in the market to showcase women on screen as capable earners who challenge the authority of the men. Providing the women of the time who often constrained by the societal hierarchy in place an inspiring outlet for one’s own imagination and burgeoning future within society. 

Context

Walsh’s film is another example of Warner Bros. propelling the sentiment of class contrast and the straining of relationships as a result. Throughout, we can note the constant duality of the lives of the characters within the film, constantly contrasting the glamour of the american dream, moreover, how that ideal is forever out of reach for the World War I veterans that are depicted as professionally and culturally left out in the cold (Walsh, 00:47:01), and (Walsh 00:04:28). Many of the films that came from Warner Bros. such as this one are keen to note the corruption of the greed of the time period. Furthermore, how that greed can imply a degree of desperation in within the forgotten social classes, ultimately, providing Warner Bros. with a favourable perception within the widespread American viewership as the primary outlet for “social critique” in the 1930’s (Daseler, 2014).

This film, yet again reinforces the premise that Warner Bros. in the 1930’s were pushing for strong films that highlighted “an image of a struggling America”, economically speaking (Yogerst, 1). One can note the consistent theme throughout the film, as our protagonist is torn between what he desires and what he feels he needs to do. The economic desperation showcased in the film is ripe for the audience to dissect decades later. Furthermore, one can note the treatment of women, moreover, how men who are placed in dire circumstances subsequently view women. The iconic grapefruit scene is the clearest possible example to highlight this. You and I can clearly bare witness to an abusive and dismissive protagonist in this scene. This framing of a central character further distinguished Warner Bros. from other production companies as it showed a flawed, charismatic, and most importantly for the audience, a memorable character.

One can note the rapid fluidity of the editing style early on in Little Caesar (1931). Having seen this style in many more modern Warner Bros. productions it is hardly a surprise to see why this style of film gained so much initial traction. additionally we can note as viewers the constant necessity to highlight the harshness of growing up in less than lavish environments and the desire to reach out for richer economic prosperity. This relatable aspect, moreover, depicting a “classical glamour” aesthetic has shown, in an extreme case with the central figure that Warner Bros. were keen to attract the masses via compelling visual storytelling, subsequently, keeping Warner Bros. current within the present landscape of cinema

(Singpatanakul, 2020), and (LeRoy, 00:01:52).

During a recent escapade into expanding my knowledge on the formative Hollywood studio age, Warner Bros. stood out as a keen suspect. I wish, via this blog to delve into how Hollywood found the footing necessary to deliver to the masses firm and long lasting standing in modern social times. With the aid of my blog, i want to use certain films from the Warner Bros. filmography to further illuminate their place as a figurehead in within in social and cinematic dimensions. Beginning with Little Caesar (1931).

Beginning with Little Caesar (1931)