Topper Takes a Trip.

Review #1829: Topper Takes a Trip.

Cast: 

Constance Bennett (Marion Kerby), Roland Young (Cosmo Topper), Billie Burke (Clara Topper), Alan Mowbray (Wilkins, Topper's butler), Verree Teasdale (Mrs. Nancy Parkhurst), Franklin Pangborn (Louis), Alexander D'Arcy (Baron de Rossi), Spencer Charters (Judge), Irving Pichel (Prosecutor), and Asta the dog (Mr. Atlus) Directed by Norman Z. McLeod. (#688 - Horse Feathers and #1346 - Topper)

Review: 

You remember the 1937 movie Topper, do you? Well, maybe not, but I'm sure a little refresher would not hurt. The original film featured Cary Grant, Constance Bennett, Roland Young, Billie Burke, and Alan Mowbray in an adaptation of the 1926 novel of the same name by Thorne Smith. The movie was about newly-dead folks who come back as ghosts and decide to do a good deed in order to be stuck in limbo, which involves helping their stuffy and tired friend - wacky hijinks ensue, at least what you would call hijinks from the 1930s. McLeod, a director of comedies such as Monkey Business (1931), returns as director and all except Grant in the main cast return for this film, while Jack Jevne and Eddie Moran return to write the sequel, with Corey Ford joining as screenwriter. Perhaps not surprisingly, the film features footage taken from the 1937 film as a recap, complete with a thanks given to Grant for allowing the footage to be used. A sequel followed in 1941 called Topper Returns, which retained Young and Burke. 

Instead of a husband learning to loosen up (alongside his social climbing wife), now we have a story about a ghost trying to bring them back together as opposed to divorce - perish the thought of him trying to explain that the only friend he is seeing is a friendly ghost, who now is accompanied by a ghost dog. Oh, and there is a trip to Paris that sees all of them together and I think you know how it ends. Honestly, the only thing that might be a highlight is the effects by Roy Seawright, who received the only Academy Award nomination for the film for Best Special Effects. Bennett and Young are fine actors, but man I was not really that invested in this film. It exemplifies all the average qualities of an average movie that is just not quite my thing, since it is barely funny and barely that compelling, mostly because I see a movie that is going through the motions with ghost hijinks that aren't really that clever to see actually play out. 80 minutes go by with creaky maneuvering that never really incites a big guffaw or even a big groan, not even for the dog (of The Thin Man notice). Young is staid as ever, but it felt more interesting the first time around with him as a foil. Bennett may be playful, but the movie is sorely lacking her having Grant to play on as a proper freewheeling duo with charm for the proper bubbly flavor. Instead, it comes off as milk that seems spoiled in the wrong light. Burke seems there for the ride more than anything, not really making it any funnier or less enjoyable, which basically means a neutral result (Mowbray is hardly noticeable). It's hard to even come up with many highlights or odd scenes to really spot besides just saying "oh, that's a thing". There are basically two roads of thought when it comes to films from the 1930s: good ones you can recommend without too much trouble, and ones that are harder to watch or recommend. So, with the sequel to Topper, it's all up to you.

Overall, I give it 6 out of 10 stars.

As boring as this review might seem, at least one interesting thing happened this week: 

THE RIO GRANDE VALLEY VIPERS WON THE NBA G-LEAGUE CHAMPIONSHIP! Imagine seeing your region winning a championship for the fourth time in twelve years. What a feeling.

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).

Terror by Night.

Review #1620: Terror by Night.

Cast: 

Basil Rathbone (Sherlock Holmes), Nigel Bruce (Dr. Watson), Alan Mowbray (Major Duncan-Bleek), Dennis Hoey (Inspector Lestrade), Renee Godfrey (Vivian Vedder), Frederick Worlock (Professor Kilbane), Mary Forbes (Lady Margaret Carstairs), Skelton Knaggs (Sands), Billy Bevan (Ticket Collector), and Geoffrey Steele (The Honourable Roland Carstairs) Produced and Directed by Roy William Neill (#846 - Frankenstein Meets the Wolf Man, #873 - Sherlock Holmes and the Secret Weapon, #925 - Sherlock Holmes in Washington, #936 - Sherlock Holmes Faces Death, #1021 - The Spider Woman, #1040 - The Scarlet Claw, #1056 - The Pearl of Death, #1161 - The House of Fear, #1216 - The Woman in Green, and #1262 - Pursuit to Algiers)

Review: 

This was the thirteenth film to star Basil Rathbone and Nigel Bruce as Sherlock Holmes and Dr. Watson, respectively, and this is the penultimate feature in the 14-film series loosely based on the works of Sir Arthur Conan Doyle. Honestly, one probably would need a primer on just what happened before in this series to really compare the quality of the films from 20th Century Fox and Universal Pictures; the first film is likely the most interesting, while the war-themed films were certainly offbeat, ranging from sabotage ring voices to the return of Moriarty (twice) to microfilm matchbooks to Rondo Hatton to Algiers. Decrying the shift to modernizing the tales is an easy out, but it was the mindset of the producers at Universal to try and keep up with the tastes of young filmgoers (much to Rathbone and Bruce's reluctance, as pointed out by Bruce in his unpublished autobiography). Besides, it wasn't the first Holmes adaptation to turn to modern-day technology, as Sir Doyle had decried the use of telephones for his Victorian icon for the Stoll Pictures series of shorts/features (Doyle lived long enough not only to introduce The Lost World but also admire Eille Norwood as his favorite portrayal of Holmes on screen). At any rate, Rathbone and Bruce (who were good friends besides acting) were also starring in The New Adventures of Sherlock Holmes, with Rathbone and Bruce starring in over 200 episodes before Rathbone left in 1946 (Bruce would leave the following year) that served as adaptations of the Doyle works into 30 minutes. The Neill films were generally made fast (roughly taking over three weeks to make, generally shot out-of-sequence), but they were efficient enough to keep the ball rolling for further interest while usually only running an hour. 

So here we are, back with a series that now has a train murder mystery on its hands with a group of character actors and a hour to spend in the public domain. The film was written by a new writer this time with Frank Gruber, who generally specialized in writing in detective stories and Westerns through magazines and features (he would also write the next film). If you've kept up with the series by this point, there is no good reason to stop now, and what we have is a fairly serviceable film, fair in its setup of mystery in false leads and twists without devolving into anything out of step in nonsense. One gets to see a bit of danger for the lead, a bit of comic amusement (for better or worse), and other familiar aspects and folks (such as Hoey and Worlock, regulars at this point) that prove just diverting enough to keep the tone up to the usual Neill levels. In other words, it will keep your attention for those who seek an effort from the 1940s (read: 75 years ago), with relatively standard acting and pace with its one set (and jewel) keeping focus well. At this point in time, Rathbone was clearly itching to spirit away from playing Holmes (amid the fear of typecasting), but it never seemed to interfere with his work. As is the case for the standard bearer of calm analytical disposition, he delivers a fine performance, one that makes an encounter with a would-be killer while outside seem like a walk in the park. Bruce does what is given to him in retorts for clues and/or offbeat bumbling, whether that means in interacting with passengers that range from friend to foil or in dealing with thieves (teapot or otherwise) - there may be better portrayals of Watson out there, but Bruce will stick with you regardless. Mowbray follows along with Bruce with useful presence, a fair presence to counteract the other supposed figures of suspicion without being reduced to the stature of a coat rack. Hoey makes his last appearance as Lestrade go well enough, even sharing an interesting moment of discussion with Rathbone and Bruce that keeps the film on the conventional toes. Godfrey, sporting an "accent", does okay but is overshadowed by the burrowing bluster of Worlock (who gets the better of Bruce in one amusing sequence). Others fill the detail to what is needed, whether that involves stuffiness in Forbes or conniving with Knaggs, each longtime presences in cinema. As a whole, the film makes enough sense of itself with execution in intrigue and its setting to make for a relatively useful affair in a series winding down but still packing interest in a neat one hour package. If you've done one, what's another one (or thirteen) going to hurt?

Overall, I give it 7 out of 10 stars. 

Topper.

Review #1346: Topper.

Cast: 
Constance Bennett (Marion Kerby), Cary Grant (George Kerby), Roland Young (Cosmo Topper), Billie Burke (Mrs. Clara Topper), Alan Mowbray (Wilkins), Eugene Pallette (Casey), Arthur Lake (Elevator boy / Bell boy), Hedda Hopper (Mrs. Grace Stuyvesant), Virginia Sale (Miss Johnson), and Elaine Shepard (Secretary) Directed by Norman Z. McLeod (#688 - Horse Feathers)

Review: 
One needs a gimmick sometimes to make a comedy click with interest. One involving fun-loving ghosts haunting their stuffy friend sounds like a good one to go with. The main trio of actors involved with this film each have their own versatile qualities to help make this a quite enjoyable experience. Bennett was known for her work in melodramas alongside comedies that made her a prime star of the 1930s (having also made the shift from silent to sound films), while Grant was slowly gaining recognition for his suave charm (having moved from vaudeville to film in 1932), and Young was known his diverse work in comedies, mysteries, and dramas. Of course a film needs a good director to lead the actors together, with Norman Z. McLeod being a worthy one to help with comedy. The WWI fighter pilot-turned film-man started his career as an animator with comedy shorts, and it was his skills as a gagman that would serve him well for his eventual directing career. His big break was assistant director on the 1927 film Wings, and he had his directorial debut with Taking a Chance (1928). Before his death in 1964, McLeod directed films with notable comedy actors that ranged from W. C. Fields to the Marx Brothers to Bob Hope. The film was an adaptation of the 1926 novel (known as both Topper and The Jovial Ghosts) by Thorne Smith. The sequel novel Topper Takes a Trip (1932) would also be adapted into a film in 1938, with a further film named Topper Returns (1941) coming to theaters a few years later. Young and Burke appeared in all three films, while Bennett and Mowbray appeared only in the sequel. In any case, this is an entertaining comedy, full of charm with little moments and entertaining chemistry between Bennett, Grant, and Young that makes the 97 minutes go without too many hitches. It's a silly charmer (for a film that has its main couple die in the first 25 minutes, anyway) that runs its gags to good mileage, whether that involves sight gags where special effects help make things look like they move on their own (such as a ghost driving a car) or whimsical screwball dialogue (which helped sell Grant on doing the idea when hesitant on the supernatural material). Bennett and Grant thrive on inspiring fun and charm, while Young succeeds on his dryness alongside a daffy Burke. Playful and absurd, it should be no surprise that turned out the way it did as a neat little supernatural comedy gem, deserving of a watch to see charm display itself on screen with such effective power that is executed well enough to make for interesting entertainment.

Overall, I give it 8 out of 10 stars.