The World Changes (1933) User Reviews (21)

Nordholm Family Values

[bkoganbing · 7/10 · 3 May 2011]

The World Changes is a little known film that has an epic Edna Ferber like quality with a Wall Street type message in the end. In that respect its about three generations ahead of its time. I wouldn't be surprised if Oliver Stone saw this film before he did Wall Street.

Paul Muni plays the son of a good Scandinavian farming family who pioneered in the Dakota territory and for who the town of Nordholm, South Dakota is named. But Muni is not content just to be a farmer and settle down and marry Jean Muir, daughter of the second family of the town of Nordholm. He's ambitious and wants to make money, see the world, and accomplish something.

Across the Nordholm saga also come such frontier characters as Buffalo Bill Cody, Wild Bill Hickok, and General George A. Custer. It was the first that gets him into the cattle business, but its meat packer Guy Kibbee after Muni delivers the big herd from Texas like John Wayne and Monty Clift in Red River and Randolph Scott in The Texans who shows him that the real money is in combining both ends in one business. After that Muni marries Kibbee's daughter Mary Astor and eventually inherits the whole business when Kibbee dies.

Astor's a spoiled product of Eastern finishing schools and she likewise turns their sons into spoiled copies of herself. Muni's corporation eventually as they inevitably do goes public and starts selling shares and he gets out of it all together and just indulges his worthless sons Donald Cook who is a speculator on Wall Street with a brokerage house and Gordon Westcott who is content to be a playboy with a trust fund.

In the end the family Nordholm comes crashing down in all kinds of tragedy and Muni only finding some solace in one grandson William Janney who takes up with the granddaughter of Jean Muir's character also played by Jean Muir.

Real historical events are woven into the Nordholm story in the end the Stock Market Crash. Muni delivers one stinging indictment of his sons and their business very similar to what Martin Sheen told son Charlie Sheen what he thought of his Wall Street mentor Michael Douglas as the infamous Gordon Gekko. In that sense The World Changes is a timeless film which belies its own title. Some things never change.

The World Changes was not that well received and in some cases the film does descend into melodrama. But I think it's a whole lot better than the critics thought back in the day and Muni's indictment about Wall Street paper speculating and gambling versus an ethic of hard work is maybe more valid today than back then. I think professional film critics should give this one a second look.

I found myself looking to see if this was true

[SumBuddy-3 · 8/10 · 30 January 2018]

Paul Muni outdoes himself in this movie. I thought I had seen most all of his work available on TCM, but one night featuring him, this one looked unfamiliar, and I watched it. Stunning, based on my previous impressions of Muni. From the Good Earth, onto Emile Zola, and others, I thought he was a guarded intelligent thinker, as an actor. In the World Changes, he plays a cowboy, turned cattle rustler, turned businessman. The first half of the film I couldn't believe it, but it eventually almost "devolved" into the typical Muni character everyone is so familiar with. A loner, a thinker, but he's saddled with some material that shows its age. He still, I highly recommend it, as Ailine MacMahon and Mary Astor also plate strong courageous parts. A pleasant surprise, a wonderful find.

A good sweeping epic about the settlement of the midwest, with fine performances.

[Art-22 · 6/10 · 19 July 1999]

This epic might have been called "How the Midwest Was Won," as it follows four generations of the Nordholm family from about 1850 to 1929. Paul Muni, who never gives a bad performance, is excellent as the central character, the son of Aline MacMahon (who in real life was actually 3 years younger than Muni) and who born just as she settled somewhere in a remote part of the Dakotas. How remote? When Lieut. Col. George Armstrong Custer comes in their house with some of his men and happily announces that the war (between the states) is over, MacMahon replies "What war?" As you might expect, four generations involves a lot of people, so it takes some concentration to sort them out (a cast list may help) but it's worth the effort. I enjoyed seeing a young Mickey Rooney, Jean Muir in her first film (where she plays Muni's original love interest and later her own granddaughter) and the various historical characters that pop up. It's not a great film, but one easily enjoyed.

If you are interested in credits, you may notice that Guy Kibbee is credited as "Claflin" in the opening credits, but his name is consistently spelled "Clafflin" within the film. And Muir was credited as "Selma II," but what that means is never explained.

Spectacularly good photog and direction

[Sleepy-17 · 27 October 2002]

Until the story dredged itself into dreary cliches, this film reminded me of Citizen Kane. Many of the scenes are extremely well-put together; Mervyn LeRoy and Tony Gaudio are as good a team as Welles and Toland (an incredible fact when you view LeRoy's tepid output from the 50's). Paul Muni portrays a blonde cowboy (!), Aline McMahon is beautiful and strong, Mary Astor is scary, and many of the characters age (unbelievably) sixty years over the course of the film. Don't skip this one, it's a fascinating watch!

The Good Earth

[lugonian · 7/10 · 21 October 2019]

THE WORLD CHANGES (First National Pictures, 1933), directed by Mervyn LeRoy, would be the studios' answer to the Academy Award winning "through the ages" saga of Edna Ferber's epic tale, CIMARRON (RKO, 1931) starring Richard Dix and Irene Dunne, along with its similar theme to Richard Dix and Ann Harding in THE CONQUERORS (RKO, 1932) and Edward G. Robinson and Bebe Daniels for SILVER DOLLAR (Warners, 1932). THE WORLD CHANGES turned up to be an exceptional tale that, regardless of an impressive cast headed by Paul Muni, ranks one of those forgotten sagas (with some new passage elements introduced by title year superimposed over the rotating Earth), that deserves to be recognized.

The story begins in 1856 where Orin Nordholm (Henry O'Neill) and his pregnant wife, Anna (Aline MacMahon) are seen traveling with their wagon pulled by horses through unclaimed open spaces of Dakota Territory where Anna wants to stop and make this untouched area their home. Giving birth to a son they name Orin, the Nordholms build their home and develop the farmland with livestock. Living a isolated lifestyle, they soon welcome the Petersen family, Fred (Willard Robertson), his wife (Anna Q. Nilsson), son, Otto (Mickey Rooney) and their infant daughter, Selma, on their way to California. The Petersen's instead settle down and become their new neighbors in the area that's to be called Orinville. Following events that take place in 1867 and 1877, the Nordholms have high hopes for their now grown son, Orin (Paul Muni), to marry his childhood sweetheart, Selma (Jean Muir), but Orin has plans of his own. After encountering Buffalo Bill Cody (Douglass Dumbrille), Orin decides to leave Selma and his farm living existence for adventure in the outside world. After meeting with James Claffin (Guy Kibbee), a cattle buyer, Orin organizes cattle drives and forms "ice boxes on wheels." He eventually becoming partners with Claffin and president of Nordholm and Company in Chicago. By 1879, he marries Claffin's daughter, Virginia (Mary Astor), which produces sons, Richard (Tad Alexander) and John (Jackie Searle). By 1893, Orin becomes known as "the meat king of the world," but in spite of his successful business, the social-climbing Virginia looks down on her husband's profession. By 1904, the world begins to change for Orin as Virginia slowly goes insane and his adult sons, John (Gordon Westcott) and Richard (Donald Cook) preferring not to follow in family tradition. Richard marries Jennifer Clinton (Margaret Lindsay), who's just as snobbish as his mother was, settling in New York City while John prefers to get money the easy way by not working for it. Anna, a widow in her 90s, leaves her Orinville farm with Selma's granddaughter, Selma II (Jean Muir), to attend the wedding of a great-grandchild, only to find the three generations of Orins family to be nothing but disappointments to her. The world changes even further for the Nordholm's following a 1929 Stock Market Crash. Others in the cast include Patricia Ellis (Natalie Clinton); Theodore Newton (Paul Nordstrom); Alan Dinehart (Ogden Jarrett); Arthur Hohl (Patterson); William Janney (Orin Nordholm III); Alan Mowbray (Sir Philip Ivor), Marjorie Gateson (Mrs. Clinton), Samuel S. Hinds, Sidney Toler and countless others.

While Paul Muni might have followed up his prior success of I AM A FUGITIVE FROM A CHAIN GANG (1932) with another social melodrama, THE WORLD CHANGES provided Muni not a repeat of previous movie roles but a move forward to something best suited for his talent. It allowed Muni's character to age considerably from blondish youth to very old man with white mustache, glasses and bushy eyebrows. Under heavy make-up, Muni is almost unrecognizable (looking almost like silent movie actor, Lon Chaney). Mary Astor stands out in her one terrifying scene, sporting shoulder-length hair and no make-up, and going insane. In spite of this being a showcase for Paul Muni, it's Aline MacMahon, who is also allowed to age from young to aging great-grandmother, giving a standout performance that's most remembered long after the movie is over.

Fortunately not a two-hour plus epic scale as CIMARRON, THE WORLD CHANGES, at 91 minutes, is satisfactory entertainment. Over the years, it had limited television revivals, including Philadelphia's WKBS, Channel 48 in 1974, along with cable television's Turner Network Television (1989) and Turner Classic Movies (since 1994) often as part of Paul Muni tributes. A worthy look of old-style "through the ages" film-making sagas indicating as how the world changes. (***)

Paul Muni ages for the first time

[HotToastyRag · 6/10 · 4 March 2019]

Ladies, go out and rent The World Changes because Paul Muni is gorgeous! If you thought he was handsome as a brunette, just wait until you see him as a blond. Of course, by the end of the film, he's undergone severe age makeup, but feel free to drool your way through the first half of the film.

Paul lives out in the country with his family, but a chance meeting with Buffalo Bill, played by Douglass Dumbrille, inspires him to explore and make his way in the world. He gets a job in a meat-packing factory, and after marrying the boss's daughter, he transforms the industry. In addition to showing one man's struggle in the business world, the movie explores themes of ambition, ingratitude, family quarrels, and marital problems. Parts of the film are very good, but keep in mind that it was made in the early 1930s. It's worth noting that this was the first film Paul Muni made in which his character aged decades, something that would become his signature throughout his career.

Enjoy the eye candy, and the supporting cast, including Mary Astor, Guy Kibbee, Aline MacMahon, Margaret Lindsay, and Donald Cook, but you might want to watch a musical afterwards. The film takes place over several decades, and each time change shows a globe turning. The scene-change music can get stuck in your head quite easily.

Rags to riches, and misery

[marcslope · 7/10 · 24 January 2018]

Mervyn LeRoy was working pretty frantically in 1933, turning out five big features for Warner Brothers, and this social history-drama was as far from its LeRoy predecessor "Gold Diggers of 1933" as you can imagine. It's a rags-to-riches epic of Orin Nordholm (Henry O'Neill) and his wife (the always superb Aline MacMahon), founding a town in Dakota territory in 1856 and watching their namesake son (Paul Muni) become a meat tycoon with Guy Kibbee, marrying Kibbee's difficult and pretentious daughter Mary Astor, and raising a family of ingrates and opportunists. It's lavish, with big montages (the market frenzy is especially well done) and a big Warners cast, and there are some wonderful scenes--loved Custer informing Orinville in 1865 that the war is over, and MacMahon asking, "What war?" But the Muni-Astor love story (he unwisely abandons Jean Muir for her) is unconvincing, with a love-at-first-sight we don't buy (Paul Muni was many things, but sexy was not one of them), and the parade of greedy, unprincipled relatives--Donald Cook, Margaret Lindsay, Alan Mowbray--somewhat monotonous. Muni's fine, with some impressive aging makeup, and Astor, while playing a character we don't quite believe, never gave a bad performance. It's consistently entertaining and sprawling, and I love this 1930s genre of multigenerational American epics, but there are neater entries than this one.

history and family saga over generations

[ksf-2 · 6/10 · 25 October 2016]

Some greats in here - Paul Muni, who could play anything. Aline MacMahon, the awesome Mary Astor. Guy Kibbee, who was in every black and white film ever made. and of course, Mickey Rooney as a thirteen year old. The story opens with the Nordholm family settling down to raise a family. Also appearances by George Custer, Wild Bill Hickock, and Buffalo Bill. Sidney Toler is in here, probably best known for his role as Charlie Chan in the 1930s/1940s. Kind of a sprawling story of a family over the generations, as they weave in the history of the midwest. Pretty big subject to tackle, as time passes. Oscar Apfel, another actor who could play anything, is in here as the banker. We spend a couple seconds on the next several decades, as Orin (Muni) gets more and more successful, and the town grows larger and larger. We witness Nordholm and his wife bickering about how to raise the children, and who is coming to visit. Clearly, we are to feel sympathy for Nordholm, while his family is more concerned with superficial things, spending money and entertaining company. Written by Sheridan Gibney, who had won two Oscars for Louis Pasteur. Directed by Mervyn LeRoy who had his share of hits and misses. It's okay. Didn't really live up to its reputation. It tackled so much, over such a rich period of history, that the plot was kind of watered down. The viewer just watches it happen, without really getting invested in any character or part of the story.

Sweeping saga

[MikeMagi · 9/10 · 6 August 2014]

I didn't think there was a vintage Warner Bros. or First National movie I hadn't heard of -- but then "The World Changes" turned up on Turner. Had to be a clunker, right? Wrong. It's a saga that surges through some fifty years of American history, following a farm boy to the stockyards of Chicago and prosperity thanks to the invention of refrigerated cattle cars. His challenges? A wife who is going mad, a pair of wastrel sons and ultimately the 1929 Wall Street crash. Paul Muni in the starring role is superb, subtly changing from eager innocent to troubled tycoon. It's Muni's show but he's ably supported by Mary Astor, Guy Kibbee and even a moppet Mickey Rooney in a small role. There's a touch of "Citizen Kane" about "The World Changes." It's a terrific "lost" movie, well worth your time.

Fascinating change

[TheLittleSongbird · 7/10 · 17 February 2021]

Mervyn LeRoy was a more than capable director and was responsible for some great films, especially 'Gold Diggers of 1933', 'Random Harvest' (my personal favourite of his) and 'Waterloo Bridge'. Also like 'Little Women' a good deal. Another reason to see 'The World Changes' for me was the cast, Paul Muni and Mary Astor could always be counted on to give very good and more performances. And there has been no bias against melodramas, some great ones out there.

'The World Changes' is not one of the best examples of melodrama and doesn't entirely escape potential traps. It is far from being one of the worst at the same time and is actually a lot more interesting than it sounds. On the whole it was a very well done if quite sprawling film, especially in the production values and the acting, that represents all involved well if not seeing them at their very best. 'The World Changes' is not a perfect film but is deserving of more credit.

Could it have been better? Yes. With many characters and events, 'The World Changes' at times did feel over-stuffed and a bit sprawling. A longer length by about half an hour more would have made this less problematic and would have given more room for more depth.

While most of the dialogue is fine, not always the case with melodrama, there are times where it does get on the overwrought side and where it rambles (Muni's dialogue for instance could have done with a trim).

In no way is this meant to sound that 'The World Changes' is a bad film. There is a huge amount to like about it. It looks great for one thing, with the photography especially being spectacular at its best. LeRoy directs with assurance and things don't plod too much under him. When it's used, the music is sumptuous enough and doesn't come over as too syrupy or melodramatic. The ageing is remarkably convincing, in look and acting.

Although the dialogue is not perfect, much of the script's construction is solid and neatly done without being too much so. The story sprawls about but is mostly quite absorbing and moving, and the characters are far from sketchy, intrigue from the get go and carry the story beautifully. The historical characters fascinate. Not to mention that they are excellently acted, especially from Muni in a complex role that he pulls off with vigorous but never overdone aplomb (especially shining in the character's more troubled side). Though one shouldn't overlook scarily formidable Astor and against type and quite powerful Aline McMahon.

Overall, didn't wow my mind but very interesting and well done. 7/10

Too much melodrama

[gbill-74877 · 4/10 · 16 July 2020]

An ode to the American icon, the fiercely independent, self-made man, bordering on or perhaps venturing in to mythology, spanning the years 1856 to 1929. It starts with his parents claiming land in South Dakota and building a farming life for themselves in a 15 minute, mostly throwaway preamble. The usual ol' West tropes are here, and we see that Buffalo Bill Cody and George Custer were just regular fellas, as well as a ridiculous scene where the mother (Aline MacMahon) says they weren't even aware the Civil War was happening when informed it's over. You see, they're just so independent and were fleeing all that government stuff back East.

The son (a blonde Paul Muni) grows up to be in the meat industry, first as someone pioneering a cattle hundreds of miles north out of Texas when others said it couldn't be done, then as a partner in a slaughterhouse, and then shipping meat east via "iceboxes on wheels," an invention he hits upon with comical emoting. The trouble is he's married badly, to a snob played by Mary Astor, and the pair have two sons who grow up spoiled rotten. We see life play out from there over time, with the world and this guy's extended family changing dramatically.

I really stopped caring as it went along, trying to give us this grand sweep of time, in part because the 'self-made man' is too upright and squeaky clean, his descendants tiring, and the story melodramatic. I'm all for satirizing those who inherit wealth or don't work for it, and the idea of showing how wealth accumulated at the end of your life is impermanent ala Citizen Kane is nice, but this one feels so poorly constructed that it was hard to appreciate. The cast was the most interesting thing for me - Muni is solid, Astor has a couple of very good dramatic scenes, MacMahon has great presence, and keep an eye out for 13 year old Mickey Rooney too. Otherwise, whew, skip this one.

Watch for the Women

[marcar912 · 8/10 · 7 September 2018]

Yes, "The World Changes" is a Paul Muni vehicle, but the female cast steals the show even from him. (Frankly, I always find Muni a little hammy, but that's just me.) Watch for Mary Astor playing a snobbish social climber who is driven mad by her husband's rise in Chicago's meat-packing industry. Her character is a far-cry from "The Maltese Falcon" and other femme fatale parts she played in films noir. When she finally descends into insanity onscreen it is something to watch. Her "Bride of Frankenstein" hair falls crazily to her shoulders and her eyes are crazed and black as she pulls a Lady Macbeth on Muni and says she can "smell the blood" on him, on his clothes, on their lives. It's amazing.

Aline MacMahon as Muni's pioneer mother is also powerful in a role that is different from her usual comic turns or "best friend/buddy" parts.

Even Margaret Lindsay as a socialite who marries into the millionaire meat-packing family gives a good turn as she struggles with her snobbishness, her striving for her wastrel sons, and her extramarital affair during the Wall Street crash of '29. (When her husband shoots himself in the head in front of her because he has lost the family fortune, she picks up the phone to call her lover and frantically pleads with him to help her escape while her husband's barely cold body lies on the floor a few inches from her.) Yes, watch for the women. You'll enjoy them.

"Never bring meat to this table again. Never bring ANY meat to this table! Never! Never! Never!"

[utgard14 · 6/10 · 7 August 2014]

After back-to-back powerhouse classics Scarface and I Am a Fugitive From a Chain Gang, this was a big step down for Paul Muni. The story is about a ambitious young farm boy (Muni) who becomes a meat tycoon. He marries a snobbish socialite (Mary Astor) and raises spoiled children. Eventually it all comes crashing down for him.

Muni is solid and Astor pitch-perfect as the shrewish mentally unstable wife. There's an enjoyable cast backing them up, including Margaret Lindsay, Guy Kibbee, Jean Muir, and Aline MacMahon. Young Mickey Rooney has a small part. Decent melodrama that takes awhile to get off the ground. One of those "being rich ain't all it's cracked up to be" stories.

Patriarch Gets Neutered

[view_and_review · 4/10 · 20 February 2024]

"The World Changes" is a multi-generational film that begins in 1856 in the Dakota territory and ends in present day (1933) New York--a span of seventy-seven years. It is a cautionary tale that uses a poor example of what can happen should you chase dreams of wealth.

The movie follows the Nordholm family with a primary focus on Orin Nordholm Jr. (Paul Muni). I like Paul Muni in all the other movies I've seen him in. Too bad he had to take this role.

His parents, Orin and Anna Nordholm (Henry O'Neill and Aline MacMahon), settled in the Dakotas and founded Orinville. They were hard working farmers who only wanted some land a peaceful place to call home (naturally they'd have to fend off some unwanted Native Americans like any decent settlers--sarcasm by the way).

When their son Orin Jr. Got older he wanted to leave the Dakotas and make something of himself. His mother, Anna (Aline MacMahon), was against it because unlike her and Orin Sr., Junior was leaving to chase wealth. Why should he want to go to Chicago to become wealthy when he could stay in Orinville and be an honest farmer, neighbor, and husband? By the end, Anna's point would be proven when she visited her son in New York. Orin hadn't seen his mother in about fifty years, yet the two looked the same age even though she was over ninety and he was seventy-something.

Junior didn't listen to his mother and left for greener pastures. He hooked up with a man named James Clafflin (Guy Kibbee) and the two started a successful cattle business. They did everything from raising cattle, to slaughtering it, to transporting it.

Orin Jr. Would go on to be a great success. He married Clafflin's daughter Virginia (Mary Astor), had two sons, and staved off one attempt after another from those who would try to ruin him, but what he didn't know was that he was ruining a future generation of Nordholms.

He married an extremely ungrateful wife who didn't know, or didn't care, where her bread was buttered. She had the nice cozy life she had because of cattle, yet she despised it and didn't want her sons anywhere near it. Cattle wasn't posh, noble, or sophisticated, and that's what she fancied herself.

Orin's two sons, Richard (Donald Cook) and John (Gordon Westcott), turned out to be equally ungrateful and moreover, spoiled, lazy, and pretentious. Richard would marry a pretentious and haughty wife, they would have a few no-good kids with the exception of Orin III (William Janney), all while Orin Jr. Sat idly by.

I get the sentiment, but I don't get the patriarch they chose for such a pompous and pathetic family. My point being that Orin Jr. Didn't seem like the type to let his family become useless leeches.

The writers seemed to go out of their way to make Orin Jr. Into an impotent figurehead. He was a lion when it came to business, but he was a lamb in his own household. His wife, Ginny, openly criticized his method of earning a living and verbally chastised him in the fiercest way for daring to take "her" sons to the slaughterhouse. It was such a brazen slap in the face I thought for sure Orin Jr. Would put his foot down and let his wife know what time it was.

Instead, he tucked his tail between his legs and retreated. From that point he had no control over his own sons or his own house. In fact, as he revealed later, he only helped ruin them by buying them out of one jam after another.

The one time Orin Jr. Did stand up for himself (twenty years too late) he pretty much killed his wife. For all of her barking, sniping, and deriding, she was soft as Charmin. Her husband yelled at her one time and she fell ill then died.

In the end the Nordholm bloodline was ruined with the exception of Orin Nordholm III. The point was made that going after wealth will turn you into a sissy and your family will become spoiled brats. If it sounds far-fetched and exaggerated that's because it is. Sure, people ruin their children all of the time, but the characteristics need to be present. Had Orin been a man who wasn't as hard working, and had indicated that he wanted to spoil his kids, then I would've believed the outcome of his progeny. But he was a principled, hard-working man who wanted his sons to be equally principled and hard-working. Because of that I can't believe that he would let his wife marginalize him like she did and turn the family into what she imagined for it.

Free on Odnoklassniki.

We Change Too

[Richie-67-485852 · 10/10 · 28 January 2018]

Most excellent life-lesson movie that covers all range of human emotions and circumstances of which the viewer can relate too. Why? Its real and we can be any of those characters portrayed. Good Paul Muni work with excellent supporting cast makes this memorable and a valuable piece of work all could proud of. The point of: What if you gained the whole world but lost your soul is proved for our consideration. The dialog is potent with Paul Muni's character stating there is no depth or purpose in a shiftless existence which haunts the viewer to the core. The real values are how you went about getting what you have as they were put here to be gotten but not using under-handed tactics to do so. What we learn from this movie from the very start until the closing credits is that one must bend, break and recover as many times as it takes until we rise above it all. Then, it can be said that....

Nobody quite explained the Great Depression like Warner Brothers...

[AlsExGal · 8/10 · 13 October 2019]

... and this film explains the run up to the stock market crash in the person of Orin Nordholm, Jr. (Paul Muni), born in Dakota territory to Swedish immigrant parents looking for a place to build a farm. When another family arrives there, they decide seven people are enough for a town and christen it Orinville.

As Orin grows to manhood, he decides to seek his fortune in the multitude of cattle in Texas, and the multitude of meat hungry folk in the northeast, leaving Orinville and his fiancee Selma (Jean Muir) behind. Orin is hard working and enterprising, cagey when he has to be, and tragically partners with James Claffin. It's not tragic because Claffin tries to cheat him, but because he introduces Orin to his daughter, Virginia (Mary Astor),a terrible ungrateful snob. They inexplicably marry, and Orin is ultimately an unhappier man because of it. Claffin dies shortly thereafter, leaving the business for Orin to ably run.

We are shown absolutely nothing of the Orin/Virginia courtship, so the audience has no idea what he sees in her. They must have never had a conversation for him not to see she was bad news. Or maybe Virginia was as good an actress during courtship as the actress that played her. Two sons are born to the marriage and they are both as snobby as their mother, whom she ruins by spoiling them, not letting them see that all of their money is not just heaven sent.

The rest of the film plays out like a Greek tragedy or maybe the decline and fall of the Roman Empire with the subsequent two generations just getting more spoiled, reckless, entitled, worthless. Orin has long sold out his interests in his meat packing empire. One son is a professional loafer and lady's man. The other has married a girl just like dear old mom - not a good thing - and owns a brokerage firm where he and his son are involved in embezzlement Madoff style that in better times they could probably cover up, but then comes the crash of 1929.

Orin was a hard worker, always as honest as you can be in big business, his biggest sin seeming to be marrying the woman that he did. And yet it seems like this film is trying to say- and rather obviously at that - that his sin was to leave Orinville in the first place. What kind of place would America have become if nobody had big dreams and followed them? Questions not asked or answered. But maybe not popular questions at the height of the Great Depression.

Kudos to Aline McMahon as Orin's mother who credibly ages from a teen bride in 1856 to a 90 something widow in 1929. I just love her subtle acting style, her natural beauty. Interesting factoid here is that MacMahon actually lived into her 90s. She is as credible in her aging process as the more famous Paul Muni is in his.

A few funny things. Somehow the Nordholms manage to run into three famous western figures - George Custer, Buffalo Bill, and Wild Bill Hickok. Also director Mervyn Leroy always had trouble transitioning between scenes to the point that early in his career he actually had a curtain lower and rise like he was changing scenes in a play. Here he uses a globe turning with the years ticking by to indicate the passage of time.

I'd recommend this one for Muni's as well as MacMahon's acting.

It's time the movie was revived to receive the popular acclaim it deserves.

[JohnHowardReid · 9/10 · 2 December 2017]

Paul Muni (Orin Nordholm Jr), Aline MacMahon (Anna Nordholm), Mary Astor (Virginia), Donald Cook (Richard Nordholm), Patricia Ellis (Natalie), Jean Muir (Selma Peterson), Margaret Lindsay (Jennifer), Guy Kibbee (Claflin), Theodore Newton (Paul), Alan Dinehart (Ogden Jarrett), Henry O'Neill (Orin Nordholm Sr), Anna Q. Nilsson (Mrs Peterson), Douglass Dumbrille (Buffalo Bill), Clay Clement (Captain Custer), Gordon Westcott (John), Alan Mowbray (Sir Phillip), William Janney (Orin II), Marjorie Gateson (Mrs Clinton), Willard Robertson (Peterson), Mickey Rooney (Otto), Wallis Clark (McCord), Oscar Apfel (Morley), Sidney Toler (Hodgens), David Durand (Orin aged 10), Marilyn Knowlden (Selma, aged 10), Arthur Hohl (Patten), Philip Faversham (clerk), Jackie Searle (John as a boy), William Burress (Krauss), George Meeker.

Director: MERVYN LeROY. Screenplay: Edward Chodorov. Based on the story America Kneels by Sheridan Gibney. Photography: Tony Gaudio. Film editor: William Holmes. Art directors: Jack Okey, Robert Haas. Costumes: Earl Luick. Music director: Leo F. Forbstein. Producer: Robert Lord.

Copyright 21 November 1933 by First National Pictures, Inc. A Warner Bros-First National Picture. New York opening at the Hollywood: 25 October 1933. U.K. release: 5 May 1934. Australian release: 7 March 1934. 9 reels. 90 minutes. (Available on a 10/10 Warner Archive DVD).

COMMENT: Actor Paul Muni and director Mervyn LeRoy's follow-up to I Am a Fugitive from a Chain Gang failed to strike equal sparks at the box-office, despite universally enthusiastic reviews. Produced on a lavish budget, the film tells a fast-moving, full-of-interesting- incident account of the spectacular rise and fall of a self-made millionaire.

Magnificently played from youth to old age by the brilliant Paul Muni, this tycoon was a contemporary figure that struck too close to home for the vast majority of Depression era picture-goers who saw the movies as an escape, not a reminder of stock market misfortunes and manipulations. It's time surely the movie was revived to receive the sort of popular acclaim it deserves.

Supporting Muni is a great roster of equally seasoned players, including Mary Astor, Patricia Ellis, Jean Muir and Margaret Lindsay; plus Aline MacMahon, Guy Kibbee, Alan Dinehart, Sidney Toler. The art directors also enjoy some terrific chances to show their mettle. In short, The World Changes rates as entertainment film-making at its peak.

Paul Muni as a Haratio Alger-type character, whose financial success is soured by family bickering

[weezeralfalfa · 8/10 · 9 October 2019]

I was very surprised to encounter this little-remembered early Paul Muni film, on TCM. I discovered that it's also available on YouTube! It certainly doesn't deserve it's status as one of Muni's more obscure films. It's the saga of a Scandinavian pioneer Dakota sod buster's son, Orin Nordholm, who wants to get off his family farm, and drive herds of cattle up from Texas to the rail heads. This he does, after some advice from Buffalo Bill(didn't know Bill was into cattle driving?). Then, he heads for Chicago, where he strikes up a partnership with a meat packer. and marries his daughter(terrible choice, as things turn out!). Doesn't take him long to become a kingpin in the business., with his adoption of refrigerated cars to carry dressed meat portions, rather than the traditional hauling of cattle to markets. He is always looking for ways to cut costs, expand and improve his business. Unfortunately, his wife(played by Mary Astor) hates anything to do with livestock stockyards and butchering livestock. Thus, she counters Orin's dream that his sons will follow him into his business. Mrs. Nordholm tries to steer her offspring toward becoming professionals in the East, or marrying such or British royalty. As a dyed-in -the- wool agriculturist, Orin has nothing but distain for such ideas, considering such people the worthless idle rich. Eventually, he drives his wife insane, and she dies of a heart attack....,,,,,Many years later, after Orin has been persuaded to sell his business, the stock market crash of '29 takes a big toll on the financial health of his sons, one of who commits suicide, becoming hopelessly in debt. Also, the marriage of his daughter is cancelled. Soon, Orin, feeling his health failing, pleads with his grandson, Orin III to marry the granddaughter of his first love, back in Dakota, whom he abandoned in his footloose youth, and move with her, and Orin's 90y.o. mother, back to their Dakota farm. This is done, and Orin's body is buried on the farm.........Orin is partially based upon the notable pioneer in industrial scale meat packing: G.F. Swift. The initial film portions dealing with Orin's Dakota life and cattle driving, is purely fictional. Probably, the family problems that dominate the last half are also fictional. However, Swift did build his meat packing empire from Chicago, as dramatized. He was instrumental in getting the first practical refrigerated train car developed, thus greatly reducing the cost of meat products to consumers, along with making profit for himself. Initially, the obstinate railroads refused to carry his refrigerated cars, fearing the obsolescence of their cattle cars and stockyards. Finally, he found a small company that agreed to carry his cars, inducing the others to follow suit. As alluded to in the film, Swift was constantly looking for new products to utilize the waste from his operations, so that he could brag that he used the whole carcass, "except for the squeal". However, the film does not bring out the importance of Swift's pioneering use of economies of scale and vertical integration, as well as his use of assembly line processing. Henry Ford was impressed by all these features , on a visit to the main plant. All of these innovations, along with refrigerated cars drastically reduced the price of meat products to consumers, especially in the East.......... Interestingly, if we assume Orin died in 1930, when his mother was said to be 90, and assume she was 16 when he was born, then he lived to about 75, which is the age at which Swift died..........It's amazing how Muni's makeup was gradually altered to make him look progressively older, being quite white-haired toward the end. Initially, his hair was colored blondish, helping to make him look about 20, his real age being 38.

Rich in money...absolutely bankrupt in values.

[planktonrules · 9/10 · 22 January 2020]

"The World Changes" is a saga that is intended to teach a lesson on morality and the worthlessness of relying solely on worldly possessions. It begins in the 1850s in the Dakotas and follows Orin Nordholm (Paul Muni) from life on a small farm to immense wealth. Along the way, he marries a woman who is well-bred and haughty....and unfortunately, she passed this haughtiness down to her children and grandchildren. As a result of this and Orin's constant work striking it rich, the family is eventually worthless and without any sort of values.

The story is obviously a morality play...and a darned good one. In fact, about six months later, the film's message was very much copied in Mary Pickford's last film, "Secrets"....though "The World Changes" is significantly better and still packs a powerful punch today. Well acted, well written and never dull, this one is well worth seeing....even if Orin's mother somehow lives to be at least 100+ and with the body and mind of a 70 year-old. See the film...you'll see what I mean.

The earth will keep spinning no matter what.

[mark.waltz · 9/10 · 22 March 2020]

Warner Brothers created a series of earthy dramas throughout the 1930's that showed the world circling many ways, whether through sagas like this and "Silver Dollar" (1932) which dramatized the ambition of man and how it can aide or destroy. Folksy dramas like "So Big" and "As the Earth Turns" reminded audiences of the real heart of the world, and 90 years later, many of these films are classics. In the case of "The World Changes", it is one of the genuinely best films of 1933, not a classic that everybody knows about, but a brilliant film nonetheless.

The heart and soul of this film starts off at the beginning, with the land, and with the hard-working Henry O'Neill and Aileen MacMahon who move to South Dakota and create a community that bears O'Neill's first name. They are so far away from anything that they don't even know that America has been at war. Surprise encounters with General George "Armstrong" Custer and Buffalo Bill leaves a taste of finding what is out there for their son, Paul Muni, who ends up King of the Chicago Stockyards, defying his mother just as his grown sons will later defy him. as Muni rises, he finds barriers thanks to the jealous elderly businessmen who find his upstart ways extremely threatening.

A great performance by the always terrific Mary Astor highlights of the Chicago scenes, with Astor playing Muni's snobbish wife who is disgusted by the stockyards once ran by her father (Guy Kibbee) that Muni insist on raising their sons around. it all becomes a bit too much and she has a nervous breakdown that leaves her a shell of herself, making her look like a complete mad woman in her big scene. It's rare to see a star of Astor's image without makeup and looking almost like a walkung corpse. Warner Brothers ingenue Jean Muir has a part as Muni's childhood sweetheart who urges him to go and then later her granddaughter who becomes involved with Muni's grandson.

MacMahon is terrific as the matriarch who has basically avoided her son's Chicago distance for years but makes a point of showing up as an aged widow, determined to knock sense back into her son and the family of his that she has never been able to get to know. Hers is a type of performance that some may view as ridiculously dated and over-the-top, but she truly is the heart and soul of the film, even with her limited screen time. This is a saga of a very troubled family full by their own wealth and power, needing w good wake-up slap, and a feisty great-great grandmother is just the one to do it.

A poor man's "Strange Interlude" which manages to end with a bang

[wlgme · 21 October 2016]

This sweeping soap opera always moves rapidly, but most of it is told in a linear fashion and is populated by only a few characters at a time. This mode of storytelling ends abruptly with the appearance of many characters and a highly involved climax. It's not Eugene O'Neill, but it's certainly entertaining and may have you rewinding your DVR or DVD more than once. Also, Paul Muni is brilliant, as usual ("They're just selling papers," he says of newspaper boys hawking Wall Street editions on the eve of the 1929 crash); the rest of the performers are strong, too; and it was made, as at least one line of its dialogue betrays, in the pre-Code days. Worth a look.