My Man Godfrey.

Review #1787: My Man Godfrey.

Cast: 

William Powell (Godfrey), Carole Lombard (Irene Bullock), Alice Brady (Angelica Bullock), Gail Patrick (Cornelia Bullock), Jean Dixon (Molly), Eugene Pallette (Alexander Bullock), Alan Mowbray (Tommy Gray), Mischa Auer (Carlo), and Pat Flaherty (Mike Flaherty) Directed by Gregory La Cava.

Review: 

Admittedly, this film had been on the waitlist for quite a bit of time. The 1930s were an interesting time to see sound comedies make their way to the big screen with various stars and directors adapting (or not) to growing demands set by an audience that had plenty of interest in having a good time at the theater (of course, there was still room for a few little timely references of the day, but you get the idea). At any rate, it is also a decade that deserves far more coverage besides the usual classics; of course, this film is in of itself considered a worthy classic, considering that it features William Powell and Carole Lombard at their pinnacle in stature to go with a seasoned director with Gregory La Cava (he had agreed to do the film with Powell...and Constance Bennett). Born in 1892, the Pennsylvania native had started his adulthood in animation studios beginning in 1913; in 1922, he moved to Hollywood to do features (specifically comedies, shorts and features). By the time La Cava directed his final film in 1948, he had done over a hundred directorial efforts (with over thirty features), and he had seen five of his films receive notice with Academy Award nominations (with this being one of them); he died at the age of 59 in 1952.

The film is adapted from the 1935 novel 1101 Park Avenue by Eric Hatch. Hatch and Morrie Ryskind wrote the screenplay while Zoë Akins and Robert Presnell Sr served as contributors. As a screwball comedy, it proves quite efficient in its 94-minute run-time with a biting edge and energy from its main actors that makes for a fairly dignified time (perhaps it shouldn't be surprised that a remake would follow in 1957 alongside a Broadway production in 1985). There have been quite a few butler movies over the years, and this one does well with examining its quirky characters and situations without turning into outright farce. It is Powell that draws the most curiosity, in part because of how he manages to handle the screwball aspects with apparent clarity that has good timing and dignity. Of course, Lombard (cast at the request of Powell, who were actually married for a time) is right there to match against him with plenty of grace and charm that draws in her share of laughs, which is generally spent with Powell for interesting moments that all start with trying to one-up a scavenger hunter. Patrick makes a worthy snob to the antics, adept in bite that matches against the two leads well enough. Brady, a veteran actress of the silent and sound eras (who had taken a ten-year break from films to do stage in 1923), makes for a quirky figure among the others, doting but offbeat in all the right ways. Pallette was a noted character presence for hundreds of films in three decades, and he certainly engages well as the straight man to everybody with that distinct voice and timing. The sequence in the first half where Powell is subjected to questions as the "forgotten man" that are closed with him making fun of then is probably the most interesting moment of the film in bite, although there are quite a few more things one could highlight (such as the first scene with him with Pallette and the others together). It has a capable energy to its screwy elements that for the most part sticks the landing by the time it reaches the inevitable closing. The weird status in the public domain (where the film copyright accidentally was left to lapse but the book copyright did not) might make it a useful curiosity to seek out as well, and one will surely be rewarded by what they see here. La Cava and company made a fine film with enough amusement that serves well for itself 85 years later.

Overall, I give it 9 out of 10 stars.

Next Time: Henry V (1944).