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).

Just Imagine.

Review #1334: Just Imagine.

Cast: 
El Brendel (Single O), Maureen O'Sullivan (LN-18), John Garrick (J-21), Marjorie White (D-6), Frank Albertson (RT-42), Hobart Bosworth (Z-4), Kenneth Thomson (MT-3), Mischa Auer (B-36), Ivan Linow (Loko/Boko), Joyzelle Joyner (Loo Loo and Boo Boo), and Wilfred Lucas (X-10) Directed by David Butler. 

Review: 

Sometimes you need to look to the future to find something to escape with. What better way to do so than a science fiction musical comedy? The writing work of this film comes from Buddy G. DeSylva, Lew Brown, and Ray Henderson, who were a well-regarded trio of songwriters. This is a film with plenty of production value and not much else. The Art Deco cityscape came from a former Army balloon hanger, wired with thousands of mini light-bulbs (some of the footage from this film would find itself re-used in future productions such as Flash Gordon) The art direction from Stephen Goosson and Ralph Hammeras even received an Academy Award nomination, while the electrical equipment from Kenneth Strickfaden would be seen again and again in film, most notably with Frankenstein the following year. It also happened to be one of the first major sound science fiction films ever made. It can't, however, be thought of as much of a standout in the same way that others before and after (like Metropolis and Things to Come, respectively) it would prove to be, and it would not be until the 1950s that studios would come to make major science fiction films again (it did not stop them from making them on the cheap or as film serials, however). It also happened to be one of the few films with El Brendel in a starring role. He had been a vaudeville comedian for over a decade prior to signing a contract with Famous Players Film Company in 1926. His shtick was a character with nonsensical dialogue through a dialect routine, which was usually Swedish (he did not have Swedish heritage, rather being born to Irish and German parents).

I should have known something would be amiss early with the way it goes from 1880 to 1930 to 1980 in its opening with a joke about speed. Or perhaps it is way it depicts its future (and treats it for the 109 minute run-time) that really should have made me roll my eyes. It is a hard thing to try and predict the future, one might say (try doing one for life in 2070, for example). What did they guess would happen? Pill form food and drinks (with Prohibition still around), vending machine babies, people with numbers for names and marriage tribunals. The last one seems more of a substitute for the cliche of "disapproving father doesn't want daughter to marry someone beneath her" than anything, particularly since the lady doesn't get a choice in the matter. But hey, everyone gets a happy ending, so what does it matter to think about changing the status quo like those other future challenging films (never let it be said that I don't prefer some sort of rebellious action in films). With stiff leads in tow, one is doomed with a mediocre piece of entertainment that never leaps in the air to soar because it spends too much time on the ground. Brendel does technically provide laughs, but one can find his act to be tiresome if wanting to find something more interesting than him talking about "the good old days" when he was around in 1930 or being silly. O'Sullivan and Garrick don't help matters, one already finds the whole affair silly and hamhanded to begin with, and they barely have any chemistry to go with it. White and Albertson seem more at home with this, with "Never Swat a Fly" being at least tolerable to sit through as a song. This is barely a musical anyway, since the songs seem more forced-in than anything, and none of the songs are really that interesting to hear anyway. If the film didn't find time to spend on Mars, one would almost desire to become an antique like this movie perpetuates itself to be. With the metallic print and big shoulder design (combined with evil twins), who can not resist giggling a bit? It seems better to giggle at it than to actually laugh with it, honestly. By the time the film creaks to its predictable outcome, one will find themselves a bit impressed at the film decoration rather than the human elements. It wasn't a success with audiences (thereby keeping Brendel in supporting roles), and it has not received a proper release on home video (I found a copy on the Internet that occasionally showed a Fox Movie Channel imprint). It is a strange curiosity - an antique that tries to present the future. Whether that works or not to your sensibilities is up to you, but I find that it hasn't quite worked out so well for itself 90 years later.

Overall, I give it 6 out of 10 stars.