Ein himmlischer Sünder

Heaven Can Wait (1943)

Brilliantly rich in color, speeding through decades of a man's life, and tumbling with jokes and situations time and again, this movie has style and sophistication written all over it. On the one hand it's chipper and funny and clever, on the other it's a hair stuff and forced, or what director Ernest Lubitch would call stylized and refined.

The entire story is a flashback of a man named Henry sitting in purgatory looking at the underestimated Laird Creger. I think Henry expects to go to hell next, and so there's an impression that we'll see just how bad he's been in life (and you wish he had been more bad, actually). If you have this feeling of tolerance as you laugh and the movie speeds through its opening scenes, hang on! It rises up several notches and truly takes off when the two main leads arrive: Don Ameche who is rather good as the center of the tale and Gene Tierney who is totally wonderful as Martha, the woman of increasing interest. Tierney plays roles that combine reserve and style with a kind of undercurrent of mischief very well. She has to keep a slightly false style to fit the Lubitch sense of a "comedy of manners," but she otherwise is less of a caricature than the rest of the cast, her and Henry.

Speaking of caricatures, boy is this movie loaded up. Martha's parents are an extraordinary high volume pair, Marjorie Main and Eugene Palette (they could make an entire movie of their own, which you'll appreciate once the Kansas scene is established--there are some moments with the servants that are masterpieces). Henry's grandfather is the always impressively quirky and complex Charles Coburn, who luckily lives through many scenes.

The color (true Technicolor) is a character of its own here--the opening scenes of purgatory are like a color version of Mr. Thatcher's famous library in "Citizen Kane," the bedroom of the newly married Martha is a pink and baby blue wonder. Skin tones glow, flowers (of which there are many in this upper crust world) and drapes (all very fancy) pop off the screen, and most of all, that first blue dress that Martha wears is something to wonder at. The photographer, Edward Cronjager, was a staple of great 1930s films, and he got an Oscar nomination for this 1943 film (and D.W. Griffith said it was the finest footage ever filmed). And speaking of "Citizen Kane," there are several echoes here--the photograph that (almost) comes to life, the telling of man's life including his old age, and there's the long long dining room table between Main and Palette--that may or may not be intentional, but it's there, for sure.

"All my life I've wanted to run away with a woman," says the grandfather. "And it's happening!" But not like you think. Check out this very funny and beautifully filmed bit of escapism, which came out right in the middle of World War II. A welcome relief even to this day. And you know what's amazing about movies like this ("Dinner at Eight" comes to mind, too) is how really moving they eventually become--regular tear jerkers. But I'm a sucker.

Ernst Lubitsch, the great European director who immigrated to America and changed movies for the better shows his true light touch in this very original yet very charming story about one man's life and the changes and problems he faces. Don Ameche is perfect as the lead character, Henry Van Cleeves, a man spoiled rotten as a child but grows up and learns many things, mostly from his beautiful wife Martha, played by Gene Tiereny. However, the best role goes to Charles Coburn who plays the rough, frank, outspoken yet lovable grandfather who sympathizes with Henry and strives to make his life better.

The kind of material here could have been used to make an epic story on the level of films like Gone With the Wind or Giant. Nevertheless, we see Henry's life in full motion, always moving ahead even when he is helpless to stop it. And Lubitsch's touch has never been more prominent, taking some scenes any other director would have made disturbing or unsettling and giving them a witty and comical feeling. It's a shame Lubitsch died so early or else we could have gotten more of these classic and moving stories.

Do NOT confuse this comedic gem with Warren Beatty's 1977 film of the same name -- that was actually a remake of a different 40's classic, "Here Comes Mr. Jordan." But, this is much better, and even more imaginative. Ameche is brilliant, versatile, and amazingly handsome as the protagonist. Laird Creagar is excellent as Lord Satan, and Allyn Joslyn and Eugene Palette head a great supporting cast. One of the wittiest comedies ever made. Don't miss it.

Utterly perfect Fox picture with handsome Don Ameche and stunningly beautiful Gene Tierney. It also stars the wonderfully hilarious Charles Coburn as Ameche's grandfather.

A well written, well acted and well directed film that is unjustly underrated and should be rediscovered. The entire film is shot in gorgeous full Technicolor and handled by director Ernst Lubitsch capable hands.

It details the story of a man, played by Ameche, who thinks that he deserves to go to hell after he dies. He then proceeds to recount his life story to the devil (Laird Creger). A true delight that is not to be missed.

Possibly my first true screwball comedy, definitely my first Ernst Lubitsch film, Heaven Can Wait lived up to the reputation of being a well made, laughter filled time. Sure it is a bit dated at times, but overall I believe the message and events occurring transcend age, probably due in small part to the fact that the film spans eighty or so years. Henry Van Cleve has passed away and knowing that he would probably have too much trouble getting into heaven, he decides to go to the place many have told him to go during life…hell.

I really enjoyed the rapport between Don Ameche (Van Cleve) and Laird Cregar (His Excellency/Satan). Cregar has a lot of charisma and is a nice change of pace from most guardians of the underworld. He has a strict code of rules, not just anyone can receive eternal damnation; one has to have earned it in spades. The fact that Ameche is trying to get in quickly, so as not to have to worry, is great, especially since he has to prove why. Of course as many stories of this ilk show, it's the women of his life that he must speak of to explain why he has sinned. It's a shame that there weren't any intercuts showing the two of them in Hell sitting and discussing Henry's life. The bookends to the film are nice, but it almost seems a shame to have seen Cregar so little.

Based on a play, Heaven Can Wait stands up well as a film. It is very much a dialogue driven movie, yet there are some great visual moments included as well. The script is great, sprinkled with dry sarcasm along with some laugh-out-loud moments and some surreal absurdities. Don Ameche is very effective as the Casanova who can't help himself even when he has the woman of his dreams. That woman, played by Gene Tierney, shows great comic timing to play off of the manipulative Ameche. She is a beautiful actress and can act very well. Tierney needs to play every emotion possible to show the ebbs and flows of their relationship while still retaining the love she has for her husband through all the tough times. Sure the whirlwind chance meeting which leads to their eloping is hilarious, and the rescue from Kansas plays out with almost a slapstick feel—especially between Tierney's character's parents and their funny papers—however, the real shining moment is their final dance together. Their love is displayed for all to see as they twirl in solitude while the rest of the party is seen through the opening between rooms. The moment is both beautiful and heartbreaking all at once.

I must say I was a big fan of the film and will seek out more Lubitsch in the future. Trouble in Paradise, available on Criterion DVD along with this film, and probably his most recognized work, Ninotchka with Greta Garbo, tops the list to check out. A great script, talented ensemble cast (look for comic genius from Charles Coburn and his baseball bat in heaven) as discussed, and superb make-up work (Don Ameche as eighty actually looks like he did at eighty, see Cocoon and a more cynical take on his character here in Trading Places) are molded deftly together to create a nostalgic look on life and those that one touches during his time on earth.