Entries run chronologically from bottom to top.
As a parolee love story, this is frustrating. As soon as the premise is established, it’s clear that the wife will eventually fess up about her past, and the husband will backslide toward burglary. Each plot point till then feels like it’s marking time. So I’m grateful for Lang’s love of strong diagonal lines, and the emotional eyes of the two romantic leads. (George Raft’s: narrow and weary. Sylvia Sidney’s: wide and mournful; incapable of keeping a secret.) On the few occasions when You and Me becomes a Kurt Weill musical, however, it’s astonishing. An opening anthem mocks department store consumerism; a sprechgesang torch song echoes “Pirate Jenny.” These numbers slip into the movie, and suddenly you’re watching something strange and didactic and sublime.