What if I told you there’s a classic movie from Hollywood’s golden age that’s basically gone unnoticed by today’s culturally liberal elite? Here we have "Fast Company," a 1938 film directed by Edward Buzzell starring Melvyn Douglas and Florence Rice. It's set in the bustling city of New York, where a rare book dealer, Joel Sloane, portrayed by Douglas, and his wife Garda, played by Rice, become amateur sleuths determined to clear their friend of a murder charge. Frankly, it’s bewildering that this clever blend of comedy and mystery doesn’t receive more attention—probably because it doesn’t check the fashionable political agenda boxes beloved by certain modern critics.
First off, let’s talk about why "Fast Company" is a masterpiece worth discussing. In an era of surface-level blockbusters and excessive political correctness, "Fast Company" offers a refreshing time capsule back to a period when storytelling and wit weren’t drowned out by overwrought ideologies. Melvyn Douglas shines as Joel Sloane, a charismatic and intelligent book dealer who, alongside his wife, navigates the seedy underbelly of New York’s crime scene. Their quest unfolds in a narrative filled with clever verbal sparring and a delightful plot that everyone can enjoy—well, everyone who isn’t offended by the lack of woke subtext.
It’s worth noting that "Fast Company" kickstarted a trilogy, followed by "Fast and Loose" and "Fast and Furious," which makes you realize that this film was a significant cornerstone for its time. But fewer people recognize that these films existed long before Paul Walker and Vin Diesel hijacked the title. Instead of focusing on car chases, this "Fast" series uniquely tackled the intricate dance of husband-and-wife detective work, all while providing the kind of entertainment that doesn’t preach.
Unlike today’s film industry, which often repaints historical and cultural icons to fit the latest political trends, "Fast Company" was a representation of its time, authentic and genuine. It’s a refreshing reminder of the days when movies didn’t sugarcoat history or push divisive agendas. Children of this era could enjoy a story without an accompanying moral diatribe.
Moreover, "Fast Company" provides a window into a period where themes could breathe. The 1930s were an intriguing era—between the ebbs of the Great Depression and the anxieties leading to WWII, there was an air of escapism in cinema. People wanted films that served life with wit and character, not indicative lectures on how they should live. Joel and Garda Sloane’s marriage—a partnership built on mutual respect and communication—stands out as a fabulous narrative choice, offering viewers a story angle often sidelined today.
It’s also a call to appreciate media from the past. The direction by Edward Buzzell and the tight screenplay by Frederick Stephani, Harry Kurnitz, Aladar Laszlo, and Dore Schary prove that the tricks of classic filmmaking are still potent. If you’re tired of explosions and tiresome remakes, "Fast Company" is a reminder of how dialogue and clever plots are essential for a fulfilling cinematic experience.
Some suggest that "Fast Company" is merely a relic, but it’s far from irrelevant. In today's cultural climate, where every line of dialogue is dissected for potential offense, revisiting films like this are distinctly liberating. There’s an undeniable charm in black-and-white classics that today’s flicks can’t replicate. Are we going to allow "Fast Company" to fall by the wayside simply because it fails to align with current cultural obsessions? I think not.
The film stands as a straightforward yet endearing testament to a time when storytelling wasn’t drowning under modern grievances. Watching it feels like sitting down for a conversation with your grandparents—rich with charm, unapologetic honesty, and filled with simple wisdom, rather than being bombarded with the latest filter-driven hubbub that parades as deep thought.
To those who are willing to give it a chance, "Fast Company" offers a humorous escape into a world where common sense is prevalent, marriages are partnerships, and sleuthing isn’t overshadowed by GPS tech and wild car stunts. It’s a delightful dive into classic storytelling that today’s screens rarely embody—an art form that should not be forgotten.