The Academy of Motion Picture Arts and Sciences has consistently strived to honor a diverse array of films with the coveted Best Picture Oscar over the years. One of their initial forays into the family saga category was the American-backed but predominantly British production, "Cavalcade."
British director Frank Lloyd made commendable efforts to elevate the visual elements of the film through innovative special effects and editing, given the early sound era constraints. However, these advancements only go so far, as the majority of the film remains tethered to its stage-bound origins, originating from Noel Coward's play, which premiered in London two years prior.
The narrative kicks off with the onset of the Boer War in 1899, introducing the audience to the upper-class Marryot family-Jane and Robert along with their two sons. Additionally, their butler Alfred Bridges and his wife Ellen, who recently gave birth to a new baby named Fanny, share their space.
The initial quarter of the film proves to be painfully monotonous as Robert heads off to war as an officer, and Alfred as a private. The critical issue arises from the absence of any depiction of the two men in South Africa, with the focus squarely on the women anxiously awaiting their fate. This lack of dramatic engagement leaves the audience yearning for some meaningful development.
Although Coward's anti-war sentiments are evident, they pale in comparison to the superior execution in "All Quiet on the Western Front," released three years earlier. Finally, with the return of Robert and Alfred, complications surface-Alfred succumbs to alcoholism after purchasing a pub and meets his demise in a street accident involving a horse-drawn fire engine.
Historical events, such as the death of Queen Victoria and Louis Blériot's historic flight over the English Channel, are interwoven into the narrative. However, the film's pace remains disjointed, hindering a cohesive exploration of these events.
Fast forward to 1912, where the Marryot's son Edward is now grown and falls in love with his childhood sweetheart Edith. We find out next to nothing about them, and they're both killed on their honeymoon on the Titanic. The glaring omission of details, such as why Edith doesn't end up in one of the lifeboats or how Edward handles the situation in his final moments, is left unanswered-contributing to a narrative void that leaves the audience yearning for crucial insights.
The World War I sequence has a nice montage covering the toll of war on the troops, which goes on for a little too long. There's also the romance between the other son Joe and Fanny, now a nightclub singer. There's not enough time to get to know Joe either, who is killed on Armistice Day after meeting up with his father overseas, both in the service. The rushed characterization of Joe and the brevity of his storyline, coupled with the extended war montage, leave critical aspects of the narrative unexplored, resulting in a missed opportunity for deeper emotional engagement.
Coward's general anti-war sentiments are conveyed through a montage blaming corrupt politicians for wartime tragedies. However, this simplistic analysis overlooks the looming threat of fascism during that period.
Fast forward to New Year's 1933, and the makeup department excels in aging both Jane and Robert. They raise a toast to the New Year, expressing a heartfelt paean to Britain and reminiscing about the good and bad times. However, the celebratory moment proves to be superficial, as the film lacks any significant character development throughout its duration.
Diana Winyard and Clive Brook give commendable performances with the limited material, but it's Herbert Mundin as the fallen butler who steals the spotlight.
In conclusion, "Cavalcade" stands as an early attempt at a family saga, marred by a lack of complexity and hindered by its stage-bound origins. While it may serve as a historical curio, offering insights into the lifestyle and attitudes of the era, its shortcomings are too pronounced to overlook.
British director Frank Lloyd made commendable efforts to elevate the visual elements of the film through innovative special effects and editing, given the early sound era constraints. However, these advancements only go so far, as the majority of the film remains tethered to its stage-bound origins, originating from Noel Coward's play, which premiered in London two years prior.
The narrative kicks off with the onset of the Boer War in 1899, introducing the audience to the upper-class Marryot family-Jane and Robert along with their two sons. Additionally, their butler Alfred Bridges and his wife Ellen, who recently gave birth to a new baby named Fanny, share their space.
The initial quarter of the film proves to be painfully monotonous as Robert heads off to war as an officer, and Alfred as a private. The critical issue arises from the absence of any depiction of the two men in South Africa, with the focus squarely on the women anxiously awaiting their fate. This lack of dramatic engagement leaves the audience yearning for some meaningful development.
Although Coward's anti-war sentiments are evident, they pale in comparison to the superior execution in "All Quiet on the Western Front," released three years earlier. Finally, with the return of Robert and Alfred, complications surface-Alfred succumbs to alcoholism after purchasing a pub and meets his demise in a street accident involving a horse-drawn fire engine.
Historical events, such as the death of Queen Victoria and Louis Blériot's historic flight over the English Channel, are interwoven into the narrative. However, the film's pace remains disjointed, hindering a cohesive exploration of these events.
Fast forward to 1912, where the Marryot's son Edward is now grown and falls in love with his childhood sweetheart Edith. We find out next to nothing about them, and they're both killed on their honeymoon on the Titanic. The glaring omission of details, such as why Edith doesn't end up in one of the lifeboats or how Edward handles the situation in his final moments, is left unanswered-contributing to a narrative void that leaves the audience yearning for crucial insights.
The World War I sequence has a nice montage covering the toll of war on the troops, which goes on for a little too long. There's also the romance between the other son Joe and Fanny, now a nightclub singer. There's not enough time to get to know Joe either, who is killed on Armistice Day after meeting up with his father overseas, both in the service. The rushed characterization of Joe and the brevity of his storyline, coupled with the extended war montage, leave critical aspects of the narrative unexplored, resulting in a missed opportunity for deeper emotional engagement.
Coward's general anti-war sentiments are conveyed through a montage blaming corrupt politicians for wartime tragedies. However, this simplistic analysis overlooks the looming threat of fascism during that period.
Fast forward to New Year's 1933, and the makeup department excels in aging both Jane and Robert. They raise a toast to the New Year, expressing a heartfelt paean to Britain and reminiscing about the good and bad times. However, the celebratory moment proves to be superficial, as the film lacks any significant character development throughout its duration.
Diana Winyard and Clive Brook give commendable performances with the limited material, but it's Herbert Mundin as the fallen butler who steals the spotlight.
In conclusion, "Cavalcade" stands as an early attempt at a family saga, marred by a lack of complexity and hindered by its stage-bound origins. While it may serve as a historical curio, offering insights into the lifestyle and attitudes of the era, its shortcomings are too pronounced to overlook.