Masks and Memories: A Mardi Gras Movie That’s Just Fine

Is it worth your time?

Honestly, you only watch this if you’ve got a weird itch for old-school, black-and-white studio filler. If you love New Orleans history or just want something playing in the background while you fold laundry, it’s fine. People who hate slow, stagey dialogue or movies that feel like they were filmed inside a shoebox? You’re gonna hate this one. 🎭

The whole premise is simple: three folks trying to get their uncle off his couch to celebrate Mardi Gras. It feels like a chore for the characters and, at times, a bit of a chore for the viewer.

Cinematic perspective: Exploring the visual vocabulary of Masks and Memories (1934) through its definitive frames.

Small Observations

There’s this one scene where the furniture looks so fake I thought it might collapse if someone leaned too hard. It’s charming in a 'we didn't have much money' sort of way.

Lillian Roth is doing her best to carry the energy here. But sometimes, you can see her looking just past the camera, maybe wondering if the lunch break is coming up soon. We’ve all been there.

Cinematic perspective: Exploring the visual vocabulary of Masks and Memories (1934) through its definitive frames.

The Vibe

It’s not quite as punchy as The Foolish Matrons, which at least had some bite to it. This one is softer, almost apologetic about wanting to be a party movie.

• The costumes look itchy. Really, really itchy.
• The uncle is exactly as stubborn as you’d expect. No surprises here.
• The editing feels like it was done with a dull pair of scissors.

It reminds me a bit of the pacing in Dress Parade, where everything just sort of drifts along. It doesn't really land a punch, but it doesn't try to hurt you either.

Cinematic perspective: Exploring the visual vocabulary of Masks and Memories (1934) through its definitive frames.

Maybe it’s just me, but the way they talk about Mardi Gras feels like they’ve never actually been to a real party. It’s all very polite and staged. If you want real grit, go watch The Last of the Duanes instead. That’s a movie that knows how to move.

Random Thoughts

One of the actors, George Houston, has this smirk that he keeps for almost the entire second act. It’s weirdly distracting. Like he knows a secret about the script that we don't.

It’s not a masterpiece. It’s not even a hidden gem. It’s just… there. A little slice of celluloid that time probably forgot for a reason, but hey, I watched it so you can keep scrolling. 🤷‍♂️