If you're a seasoned classic film fan or film history buff, then this documentary of Hollywood in 1939 will offer no new insights or information.I was surprised at how many films were glossed over or only briefly examined: Wuthering Heights, Intermezzo: A Love Story, Son of Frankenstein, and The Rains Came are all worthy of attention, yet all are barely given a paragraph. It's sad. As important as The Wizard of Oz and Gone with the Wind are, can't other films from that year get some love for once? There's nothing overtly awful or revisionist about this documentary, but it's nothing special. Only newcomers to classic film will find anything of interest here.

I really enjoyed this "sampler" of Hollywood's greatest hits of 1939 - a year which (as the title implies) many consider to be Hollywood's greatest. Somewhat thin and rushed in its overall feel, one nevertheless can't deny that this documentary makes a sincere effort to open the eyes of today's movie lovers to a bygone era of Hollywood greatness.The deficiency of this documentary can best be explained very simply: Not enough time! That is to say, the subject matter is really too vast to be condensed neatly into a 75-minute documentary with any expectation that it will reveal enough facts, figures, anecdotes, history and lore of late-30's Hollywood to even begin to satisfy the more serious film buff. So in effect, the documentary comes across more as a compilation of trailers and previews of all those great films of 1939, rather than any sort of serious history lesson.The viewer nevertheless does get a sense of the historical "place" of 1939 Hollywood: it is made apparent that the preceding 8 or 9 years of hard economic times, i.e. The Great Depression, culminated in an end-of-decade perfect storm of masterful film productions. Whether this is cause and effect or something else entirely, is left up to the viewer to decide. Also, one can see that 1939 was a transitional year on a global scale, what with war clouds looming on the horizon, which indubitably cast long shadows into the movie studios of the time. Further, there were some interesting comments about the manner by which major Hollywood studios controlled not only production of their films, but distribution as well (in the form of wholly-owned theater chains), leading to members of U.S. Congress leveling charges of monopoly tactics.I wish there would have been a lot more to this documentary, but I also wonder, how much could they really do with 75 minutes? At what point did they decide to "draw the line," and leave much of the historical context on the cutting room floor, and simply concentrate more on showcasing the finished product - i.e. the films themselves? I think in that regard they did the right thing. As I noted above, the subject matter is too vast for a 75-minute documentary.As a movie lover, and as someone who enjoys exploring movies from the bygone era of Hollywood, I commend this documentary for allowing me to see some of my favorites - Ninotchka, Gone With The Wind, Gunga Din, Stagecoach, etc. - in a new light. In addition, I thank this work for showing some snippets of movies that I have not yet seen, but really must check out: Midnight, Dodge City, The Women, Confessions of a Nazi Spy, etc. If nothing else, I would highly recommend this documentary to anyone interested in getting some "movie night" ideas. Hopefully there is a video store near you that carries many of these movie titles from 1939, "Hollywood's Greatest Year."

I was expecting so much more from this profile of Hollywood's greatest year. I was very disappointed that this look at 1939 was so thin and so poorly done.I expected a lot of time to be spent on The Wizard of Oz and Gone With The Wind. I didn't expect this time to be at the expense of other '39 movies. This documentary of 1939 barely glossed over Idiot's Delight (Clark Gable's only appearance singing and dancing) and totally ignored The Little Princess, Bachelor Mother, Stanley and Livingstone, and Intermezzo: A Love Story (just to name a few).I was particularly disappointed that they left out Intermezzo because this would have provided a perfect time to contrast Leslie Howard with his role in Gone With The Wind (he was much too old to play Ashley Wilkes and I feel that showed in his performance, but he was wonderful in Intermezzo). The exclusion of Intermezzo is all the more puzzling because it was the first American film appearance of Ingrid Bergman. How can the debut of such a star be overlooked?Even the attention given to Gone With The Wind is weak. No mention is made of Hattie McDaniel's historic Oscar win (except for a one second moment of footage at the awards). The core audience for this film would have to be newcomers to classic movies. Any fan of classic movies will not learn anything new and will be horribly distracted by all of the omissions.The 70th anniversary of Hollywood's greatest year deserves better.

A barely adequate look at the golden year of 1939, concentrating, as usual, on films owned by TCM and ignoring films they don't own and studios whose libraries they don't have.Turner not only does this in its documentaries but also in their books.I certainly can understand them wanting to push the stars and films they own, but please don't call this film history. Though TCM was not listed as the producer, they in fact were - they farmed it out to New Wave Entertainment, which has made many of their documentaries.Most slighted, as usual, was 20th Century Fox - I'll say this, they did mention it. Usually they leave it out all together. Tyrone Power in 1939 was one of the most popular stars in the world, in the top 10 box office stars - lucky him, they mentioned him once. Amazing.The documentary said that Gone with the Wind "swept" the Oscars, failing to mention that "The Rains Came" beat it - and the Wizard of Oz - in special effects.As usual, people watching this walk away believing the only stars were Clark Gable, Greta Garbo, Mickey Rooney, Bette Davis, Errol Flynn, etc. and the rest of them were people who did some acting on the side. After all, if you weren't with MGM, Warners, or RKO, you were nobody.