Best Movies of 1939
Often hailed as Hollywood's greatest year, 1939 delivered an unprecedented collection of cinematic masterpieces that forever changed the landscape of filmmaking and continue to captivate audiences more than eight decades later. This golden age of cinema produced an extraordinary array of films spanning epic historical dramas, groundbreaking Technicolor fantasies, gritty crime thrillers, and socially conscious adaptations that pushed the boundaries of storytelling and visual artistry. The best movies of 1939 showcase legendary directors at the peak of their creative powers, career-defining performances from Hollywood's most iconic stars, and innovative techniques that established new standards for the entire industry. From sweeping romantic epics that became cultural touchstones to influential Westerns that redefined the genre, these films earned critical acclaim, dominated award ceremonies, and achieved both commercial success and lasting artistic significance. Whether you're a classic film enthusiast or discovering these timeless treasures for the first time, this definitive ranking celebrates the twenty-one essential films from cinema's most remarkable year, featuring the unforgettable stories, performances, and craftsmanship that established 1939 as an unparalleled milestone in movie history.
Jean Renoir's masterpiece stands as one of cinema's most perfect achievements, a sophisticated tragicomedy that dissects French class structures on the eve of World War II with devastating wit and profound humanity. Set during a weekend hunting party at a country château, the film weaves together romantic entanglements among both the aristocratic guests and their servants, finding unexpected parallels between the two worlds. Renoir's fluid camera movements and deep-focus compositions create a sense of bustling, lived-in reality, while his ensemble cast—including Renoir himself as Octave, Marcel Dalio as the Marquis, and Nora Gregor as Christine—delivers performances of remarkable naturalism and nuance. The film's genius lies in how it balances farce and tragedy, observing its characters with equal parts affection and clear-eyed critique as they navigate elaborate social rituals that mask deeper moral decay. Initially a commercial failure that was even banned, "The Rules of the Game" has rightfully earned its place among the greatest films ever made, endlessly rich and rewarding with each viewing.
The epic struggle for survival and identity against the backdrop of the Civil War and Reconstruction creates one of cinema's most sweeping romantic sagas. Vivien Leigh is absolutely magnetic as Scarlett O'Hara, the willful Southern belle whose determination to preserve her way of life drives this nearly four-hour masterpiece. Director Victor Fleming orchestrates an ambitious production that captures both intimate character moments and spectacular historical scope, from the burning of Atlanta to the devastation of Tara. Clark Gable's Rhett Butler remains one of film's most iconic rogues, and their tempestuous relationship crackles with passion and pride. While its romanticized portrayal of the antebellum South requires critical viewing today, the filmmaking achievement remains undeniable—a technical and artistic triumph that defined epic cinema for generations.
This timeless musical fantasy remains one of cinema's most magical achievements, transporting audiences from Kansas to the technicolor wonderland of Oz with undiminished joy and wonder. Director Victor Fleming created something truly special here, with Judy Garland's iconic performance as Dorothy becoming the gold standard for young protagonists on hero's journeys. The supporting cast—Ray Bolger, Jack Haley, and Bert Lahr as her unlikely companions—brings warmth and heart to characters that could have been mere archetypes. Every frame bursts with imagination, from the ruby slippers to the Emerald City, while the songs by Harold Arlen and E.Y. Harburg have become permanently embedded in popular culture. Margaret Hamilton's Wicked Witch strikes the perfect balance of menace for viewers of all ages. Decades later, the film's message about home and belonging resonates as powerfully as ever, proving that true classics never age.
Magnificent—that's the only word for John Ford's landmark western that elevated the genre and established templates still used today. Ford transforms a simple stagecoach journey through Apache territory into a masterclass of character, tension, and mythmaking, introducing an ensemble of travelers whose social tensions prove as dangerous as the threat waiting outside. John Wayne stars as the Ringo Kid in his breakthrough role, but Ford gives every passenger their moment, from the alcoholic Doc Boone to the pregnant cavalry wife to the prostitute with a heart of gold. Cinematographer Bert Gleason captures Monument Valley in all its mythic grandeur, establishing it as the visual language of the American West. The action sequences remain thrilling, the character work is surprisingly nuanced for 1939, and Ford's direction demonstrates complete mastery of the medium. This isn't just a great western—it's essential cinema that defined what Hollywood could achieve.
Howard Hawks orchestrates a magnificent ensemble piece set at a remote South American airfield where pilots risk their lives flying mail routes through treacherous mountain passes. Cary Grant leads as the tough but fair station manager who refuses to let emotions interfere with the dangerous work, though Jean Arthur's arrival as a stranded showgirl tests his resolve. The flying sequences are genuinely thrilling, but Hawks is equally interested in the bonds between these men who face death daily with casual bravado. Rita Hayworth makes a memorable early appearance, while the supporting cast creates a lived-in community of flyers and mechanics. The dialogue crackles with Hawks' trademark wit, and the romance develops with surprising complexity. This is Hollywood craftsmanship operating at the highest level.
Reverent yet utterly captivating, John Ford's portrait of Abraham Lincoln's early years stands as one of American cinema's most inspiring biographical films! Henry Fonda delivers a career-defining performance as the young lawyer in New Salem and Springfield, Illinois, capturing Lincoln's folksy wisdom, moral clarity, and quiet determination with remarkable authenticity. Ford focuses on a murder trial that showcases Lincoln's legal acumen and fundamental decency, resisting the temptation to rush toward his presidency or martyrdom. The film's black-and-white cinematography by Bert Glennon creates images of almost mythic beauty, from Lincoln splitting rails to his contemplative moments by the frozen river. Ford and screenwriter Lamar Trotti craft a deeply humanistic portrait that feels intimate despite its towering subject. Every frame radiates respect for its subject while avoiding hagiography, presenting Lincoln as genuinely principled rather than impossibly perfect. This is essential Ford and essential American cinema!
In this film, director Lewis Milestone delivers a devastating and remarkably faithful adaptation of John Steinbeck's novella about doomed friendship during the Great Depression. Burgess Meredith and Lon Chaney Jr. give career-defining performances as George and Lennie, two migrant workers whose dream of owning a small farm remains perpetually out of reach. Chaney's portrayal of the mentally disabled Lennie is both heartbreaking and surprisingly sensitive for 1939, capturing the character's childlike innocence and unintentional destructiveness with equal conviction. Milestone's direction emphasizes the harsh realities of Depression-era California without melodrama, allowing the story's tragic inevitability to emerge naturally. The film's emotional impact hasn't diminished over eight decades—the final scenes remain almost unbearably poignant. This is American cinema firing on all cylinders, transforming literary excellence into visual poetry that honors its source material completely.
James Cagney delivers one of his most powerful performances as Eddie Bartlett, a World War I veteran who returns home to find his old job gone and few opportunities available. Director Raoul Walsh crafts an absolutely gripping chronicle of the Prohibition era, following Eddie's rise from cab driver to bootlegging kingpin and his inevitable fall as the decade comes to a close. Cagney's chemistry with Humphrey Bogart and Priscilla Lane elevates every scene, while the film's breakneck pacing never lets up for a moment. The final sequence is genuinely haunting, serving as both a personal tragedy and a eulogy for an entire era. This is Warner Bros. gangster filmmaking at its absolute peak—tough, uncompromising, and emotionally devastating.
Timeless and stirring, Frank Capra's political drama proves that idealism can make for thrilling cinema when crafted with this much conviction and skill. James Stewart stars as Jefferson Smith, a naive young senator appointed as a political pawn who instead decides to fight corruption with a one-man filibuster. Stewart delivers a performance of such earnest passion that even cynical modern viewers find themselves rooting for his underdog, while Jean Arthur provides both romantic interest and worldly wisdom as his secretary. Capra stages the climactic filibuster sequence with such tension and emotional power that it remains one of cinema's great set pieces. The film's faith in American democratic institutions might seem quaint, but its acknowledgment of political corruption and the difficulty of maintaining principles under pressure gives it surprising depth. Claude Rains excels as the conflicted senior senator torn between pragmatism and conscience, adding moral complexity to what could have been simple melodrama.
Charles Boyer stars as Michel Marnet, a charming French playboy who meets Terry McKay (Irene Dunne) aboard a luxurious ocean liner, sparking an unexpected romance that transcends their existing engagements. Directed by Leo McCarey, this elegant romantic drama navigates the complications of love with sophistication and emotional depth. The chemistry between Boyer and Dunne elevates what could have been a conventional story into something genuinely affecting, as their characters make a pact to reunite atop the Empire State Building if their feelings prove lasting. McCarey's sensitive direction allows the performances to breathe, creating intimate moments that feel authentic rather than manufactured. The film's second half takes an unexpectedly poignant turn that deepens the emotional stakes considerably. It's a beautifully crafted example of Golden Age Hollywood romance that understands the difference between sentimentality and genuine sentiment.
When a pacifist lawman arrives in a lawless frontier town controlled by a corrupt rancher, the clash between principle and power drives this exceptional western. James Stewart plays Tom Destry Jr., the soft-spoken deputy who refuses to carry guns, much to the frustration of townsfolk expecting a traditional gunslinger. Director George Marshall balances comedy and drama with remarkable skill, allowing Stewart to play against type while Marlene Dietrich electrifies as Frenchy, the saloon singer caught between worlds. The film subverts western conventions by questioning whether violence is truly the answer, yet it never feels preachy or dull. Dietrich and Stewart generate genuine chemistry, and her performance of "See What the Boys in the Back Room Will Have" is a highlight. The supporting cast, including Brian Donlevy as the villain, adds depth to what could have been stock characters. This is one of the era's smartest westerns, proving the genre could handle complexity.
During the Christmas season of the Depression era, a compassionate prosecutor takes pity on a shoplifter he's supposed to be convicting, leading to an unexpected romantic connection. Director Mitchell Leisen crafts a charming romantic comedy with surprising emotional depth, working from a script by Preston Sturges that balances humor with genuine feeling. Barbara Stanwyck brings her characteristic intelligence and warmth to the role of Lee, a career criminal with a defensive exterior, while Fred MacMurray plays against type as the decent, principled lawyer who sees beyond her past. Their road trip to her family home for the holidays provides both comedic situations and opportunities for genuine character development as two lonely people discover unexpected connection. The film's mix of screwball comedy rhythms with more serious themes about redemption and second chances gives it unusual resonance for a holiday romance. Leisen's direction keeps the tone perfectly balanced, never allowing sentiment to become saccharine or the comedy to undercut the romance. It's a gem of Golden Age Hollywood that deserves wider recognition.
Ernst Lubitsch works his sophisticated magic in this delightful comedy about a stern Soviet envoy who discovers the pleasures of Parisian life. Greta Garbo, famous for her dramatic intensity, reveals impeccable comic timing as Ninotchka, the no-nonsense commissar sent to handle a jewel sale who gradually softens under the romantic attention of Melvyn Douglas's charming count. The film's famous tagline—"Garbo laughs!"—was a genuine selling point, and her transformation from rigid ideologue to giggling romantic is genuinely enchanting. Billy Wilder co-wrote the razor-sharp screenplay, which balances political satire with romance without becoming preachy. Lubitsch's famous "touch" is evident in every elegant frame, finding humor in cultural clashes while never losing affection for the characters. It's a testament to how sophisticated comedy can be both intelligent and utterly entertaining.
Rousing and handsomely mounted, this adaptation of P.C. Wren's adventure novel follows three brothers who join the French Foreign Legion, where they face both desert warfare and the mystery of a stolen sapphire. Director William A. Wellman orchestrates large-scale action sequences with the confident craftsmanship expected of a Hollywood production from this era, while the desert locations provide an appropriately harsh backdrop for the story's themes of honor and sacrifice. Gary Cooper leads as the idealistic Beau, with Ray Milland and Robert Preston as his brothers, each bringing distinct personalities to their respective roles. The film balances military adventure with melodrama, though modern viewers might find the pacing more leisurely than contemporary action films. Brian Donlevy nearly steals the picture as the sadistic Sergeant Markoff, creating a villain audiences love to hate. The underlying mystery regarding the missing jewel provides narrative structure, though the emphasis remains on the bonds between the brothers and their fellow legionnaires. It's solid entertainment that exemplifies Hollywood's golden age adventure filmmaking.
When down-on-her-luck American showgirl Eve Peabody (Claudette Colbert) arrives in Paris broke, she crashes a high-society party and improvises an aristocratic identity, catching the eye of wealthy Georges Flammarion (John Barrymore). Director Mitchell Leisen crafts a sparkling screwball comedy with one of the sharpest scripts of the era, courtesy of Charles Brackett and Billy Wilder. Colbert is absolutely radiant, navigating mistaken identities and romantic complications with impeccable comic timing and genuine warmth. Don Ameche provides sturdy support as the earnest taxi driver who loves Eve, while Barrymore clearly relishes playing the sophisticated bon vivant. The film's Cinderella premise could have been predictable, but the script's wit and the chemistry among the leads make every scene crackle with energy. Leisen's elegant direction and the gorgeous art deco production design create a fantasy Paris that's utterly enchanting, making this one of the era's most purely enjoyable romantic comedies.
In this poetic French tragedy, director Marcel Carné and screenwriter Jacques Prévert collaborate on what many consider the pinnacle of poetic realism, starring Jean Gabin as François, a military deserter hiding from authorities in a shabby Paris hotel. The film unfolds primarily in flashback as François recounts to neighbors how his love affair with the beautiful Françoise (Jacqueline Laurent) led to his current desperate situation and an act of violence. Jules Berry provides a memorably sinister performance as the wealthy, manipulative Valentin who comes between the lovers. Cinematographer Curt Courant creates an atmosphere of romantic doom, his camera work capturing both the grimy streets and the characters' doomed yearning with equal beauty. Released on the eve of World War II, the film's themes of entrapment and fatalism resonated powerfully with French audiences facing their own uncertain future. Carné's direction balances tenderness and inevitability, creating a love story that's genuinely moving despite—or perhaps because of—its tragic trajectory.
George Cukor directs this razor-sharp comedy that gathers an extraordinary all-female cast for a witty dissection of marriage, divorce, and female relationships in New York high society. Norma Shearer stars as Mary Haines, whose seemingly perfect marriage crumbles when she learns of her husband's affair with a predatory shopgirl, played with delicious cattiness by Joan Crawford. Rosalind Russell nearly steals the film as the gossip-mongering Sylvia, while Paulette Goddard, Joan Fontaine, and Mary Boland round out a murderer's row of 1930s talent. Cukor's direction brilliantly balances Clare Boothe Luce's biting dialogue with genuine emotional stakes, never allowing the comedy to completely overwhelm the pain of betrayal and social judgment. The film's feminist credentials remain complicated—it both critiques and accepts certain gender limitations—but its portrait of female solidarity and competition feels remarkably frank. Shot entirely without a single male character appearing on screen, the film proves a confident artistic choice that keeps focus squarely on women's experiences and perspectives.
William Dieterle brings Victor Hugo's classic novel to lavish life with this handsome production that remains one of the finest adaptations of the oft-filmed story. Charles Laughton gives a deeply moving performance as Quasimodo, the bell-ringer of Notre Dame whose physical deformity hides a pure heart, while Maureen O'Hara makes an impressive film debut as Esmeralda, the compassionate Roma dancer who shows him kindness. The film balances spectacular production design—the Notre Dame sets are genuinely impressive—with intimate character moments that give emotional weight to the melodrama. Laughton's performance works because he finds the humanity beneath the makeup, making Quasimodo's suffering and devotion genuinely affecting rather than pitiful. The social themes about mob justice, religious hypocrisy, and society's treatment of outsiders come through clearly without overwhelming the story. Dieterle stages the action sequences, particularly the climactic cathedral siege, with real excitement. This version understands that Hugo's story endures because it speaks to fundamental questions about beauty, worth, and human dignity.
This classical drama follows the life of Mr. Chipping (Robert Donat), a shy Latin teacher who transforms over decades at an English boys' school, finding his voice through love and loss. Director Sam Wood guides the episodic narrative with grace, while Donat delivers an Oscar-winning performance that ages convincingly from nervous young instructor to beloved institution. Greer Garson shines in her film debut as Katherine, the woman whose brief time in Chips's life opens his heart and changes his teaching forever. The film spans from the 1870s through World War I, using the evolution of one man's career to reflect broader social changes while maintaining an intimate focus on personal growth. The school setting allows for both gentle humor and genuine poignancy as generations of students pass through Chips's classroom. While decidedly old-fashioned in style, the emotional authenticity of Donat's performance and the film's sincere humanism give it lasting power. It's a testament to how small acts of kindness and dedication can constitute a remarkable life.
This detective comedy finds Nick and Nora Charles (William Powell and Myrna Loy) reluctantly drawn into another murder investigation when a weekend visit to Nora's family coincides with the death of a local industrialist. The third entry in the "Thin Man" series maintains the franchise's signature blend of mystery, sophistication, and witty banter, with Powell and Loy's chemistry remaining the primary draw. Director W.S. Van Dyke keeps things moving briskly, though the murder plot itself is less compelling than watching the couple navigate domestic life with their young son and an ever-present cocktail. The supporting cast includes some memorable eccentrics, and the script provides plenty of opportunities for the leads to demonstrate their impeccable comic timing. While it doesn't quite reach the heights of the first film, it's an entertaining entry that understands what made the series work: not the mysteries themselves, but the relationship at its center.
Ginger Rogers plays Polly Parrish, a department store clerk mistakenly assumed to be the mother of an abandoned baby, who decides to maintain the fiction rather than lose her job in this screwball comedy gem. Director Garson Kanin keeps the complications mounting at a perfect pace as Polly's deception spirals beyond her control, eventually catching the attention of her playboy boss, played with surprising depth by David Niven. The premise could have felt contrived, but Rogers' combination of vulnerability and comic timing makes Polly's choices feel understandable. Niven matches her energy, revealing unexpected paternal instincts as he becomes involved in the baby's care. Charles Coburn earned an Oscar for his supporting role as Niven's crusty father, delivering acerbic wisdom with perfect pitch. The script balances social commentary about single motherhood and workplace discrimination with genuine laughs, never becoming preachy. Kanin's direction maintains momentum without rushing the character moments, resulting in one of the era's most rewatchable comedies.