Jede Frau braucht einen Engel

What a pleasure to revisit this Henry Koster little gem. Everything works in the most unexpected way. The mystic magic of the story is utterly contagious. The unexpected musical number on ice skates by Cary Grant, Loretta Young and James Gleason made me want to see it again straight away and thanks to the new technologies I was able to do it on the spot. There was a remake of this movie a few years ago, remember? No, probably not. Denzel Washington in the Cary Grant part and Whitney Huston in Loretta Young's. To see both films back to back should be a masterclass in film anthropology that proves without a doubt that with the passing of time we have lost something invaluable. I don't know what it is. Maybe there isn't a word for it yet. What I would love to share with all of you is the joy that "The Bishop's Wife" borough to me. Even Gladys Cooper's upper class monster has a moment of exquisite redemption. Not to be missed.

Reverend Henry Brougham (David Niven) is working very hard to get his cathedral built--in fact, he's so busy speaking to wealthy clients and attending business meetings that he forgets that the one thing he needs most in this world is his wife Julia (Loretta Young) and their daughter Debbie. As Julia feels increasingly hurt at Henry's neglect, who should swoop in but the mysterious, charming Dudley (Cary Grant), telling Henry he's an angel who's there to answer Henry's prayer. Henry can't quite believe this even as Dudley seems to make himself quite at home in Henry's life, charming the wife, the child, the maids... even the taxi driver Sylvester (James Gleason). It's all a bit too much for Henry when Dudley finally brings the cathedral's biggest patron Mrs Hamilton (Gladys Cooper) around to the idea of donating the money to the homeless instead of to the cathedral. Is there anything left of Henry's life that he can salvage? And can he really compete against an angel who has God and little miracles on his side?

THE BISHOP'S WIFE is a sweet little romantic dramedy, perfect for a Christmas night curled up before the TV set. You have to give it credit for packing in a lot more story and real, human characters than you'd expect--it's not stock Christmas heart-tugging schmokum (did I just make up a word?), but a story that's quite genuinely intelligent and real. It's not perfect (what is?), but its presentation of the characters, especially Dudley and Henry, ring true. You can believe that Henry, underneath his bitterness and myopia, really loves his wife. He's just... forgotten his direction in life, is all. Niven does an excellent job with the character, keeping him just this side of prim but making him sympathetic especially when he asks Dudley to put up his fists for Julia.

My favourite secondary characters are Sylvester, played impeccably by Gleason, and the slightly dotty Professor Wutheridge (Monty Woolley). They're actually real *people*. Actually, they even fare better than Julia herself, whom I didn't particularly warm to. I wasn't annoyed by her, but nor did I feel that it was very likely she could get a reverend and an angel to almost come to blows over her. It's a shame that Loretta Young spent most of the film looking pensive, and even in her character's moments of joy--say the ice-skating scene--she simply fails to leap off the screen and run away with the audience's hearts.

Cary Grant has no such problem, however. From the moment he strolls onscreen as Dudley--the guardian angel every girl wished she could have--he has everyone's attention. He makes Dudley just a little bit roguish, a little bit dark. You couldn't really take Grant seriously if he's all decked out in an angel's costume, halo and harp and all, but you *can* imagine him as a sort of very human kind of angel. Which is exactly what Dudley is. It's mostly the smaller moments Grant sneaks into the film and his own performance that make THE BISHOP'S WIFE compelling viewing, and if you came to this film as a Grant fan, you certainly won't leave it disappointed.

All in all, the final film is well-drawn-together, cleverly written and directed, and benefiting from its two powerhouse male leads... Niven cleverly underplaying his part, and Grant suffusing Dudley with the charm and deep, hidden vulnerability he can suggest in all his characters without so much as faking a pained expression. It's definitely a great way to spend a Christmas night, and perhaps any other night. 8/10.

A good script and inspired casting is what makes this film a real winner.

Cary Grant as Dudley the Angel has a charm that transcends his role.

When he enters a room his presence fills the screen -- you know he is there even if you cannot always see him.

Loretta Young (who was a last minute replacement) is positively luminescent when she gazes into Dudley's face.

This goes for Elsa Lanchester and Gladys Cooper (the staff at the Bishop's house) too -- they have absolute adoration in their countenance. Not hard to do with Cary Grant I am sure -- but they take it to the spiritual level.

David Niven gives just the right amount of disbelief and cynicism as the Bishop that may have lost his faith.

I have always enjoyed performances by Monty Wooley and again he is perfectly cast as the self-described "has-been scholar."

The special effects are wonderful for a time (1947) when special effects were pretty much in their infancy.

Movie books classify "The Bishop's Wife" as a fantasy -- but there is so much more there than that.

It is a love story, a comedy, a drama and an all around inspiring film.

"Peace on Earth; good will towards men."

At last here is an angel who really has fun just doing his job. Dudley (Cary Grant) brings a subtle joy to his interventions and interactions. The enjoyment factor is what makes "The Bishop's Wife" special. This charming and seemingly simple film that has been a Christmas holiday staple since its release in 1947.

But like "Groundhog Day", the surface simplicity is misleading, as this is an allegorical tale about the importance of getting outside ourselves and taking steps to escape the ruts of our day-to-day lives; i.e. finding a better way of living. Dudley works a few minor heavenly miracles but his real power is as a cheerleader and personal guide. No need to be an angel to exercise this kind of positive influence on others.

Dudley the angel comes to earth to help a Bishop (David Niven) juggle his professional and marital commitments, the conflict being that his priorities have changed since his promotion from the priest of a struggling parish. Only the bishop knows that Dudley is other than human and it takes most of the film before he is totally convinced. Meanwhile his wife and many others in the town are swept up by Dudley's charms. The Bishop is pre-occupied with securing funding for constructing a new cathedral but begins to catch on that Dudley and his wife are getting along so well that the unimaginable could occur-the angel stealing his wife.

If only one word could be used to describe "The Bishop's Wife" it would be subtle. The special effects are minimalist but effective, the careful framing and lighting of Gregg Toland's ("Citizen Kane") black and white cinematography, the tentative steps title character Julia (Loretta Young) takes as she starts to experience happiness again, and the slow realization by Bishop Henry of how far he has drifted from what matters the most.

The unity and subtlety is best illustrated in the scene of Henry walking up the sidewalk towards the Professor's (Monty Wooley) apartment. Although a few minutes from the end, this is actually the film's climax as Henry is finally confronting himself. As he walks forward the dark screen begins to get brighter; in step with his progress toward spiritual change and discovery is the end of his physical journey. He moves symbolically (and literally) toward the light.

Rounding out the strong cast are James Gleason (Max Corkle in "Here Comes Mr. Jordan") Elsa Lanchester, and Gladys Cooper. Henry and Julia's young daughter is played by Karolyn Grimes (Zuzu in "It's a Wonderful Life").

A nice thing is that while the film's "little" miracles are done on screen they are interwoven into the fabric of the story instead of dominating a scene. This casualness fits the tone of the film as does the occasional satirical line. The most memorable conversation is Cooper's demand (she is pledging money for the new cathedral) that the George figure in the proposed "St. George and the Dragon" stained glass window be made to resemble her late husband. Then Niven (deadpan) asks her whom she wants the dragon to resemble.

There will be a few who do not enjoy this film but I recommend it to anyone who wants a nice holiday film, or who is interested in a relatively deep allegorical tale of one's capacity to be a positive influence on others, or who just wants to see a truly awesome example of technical film-making.

Then again, what do I know? I'm only a child.

This is a fine movie--the sort of nice old fashioned film that Hollywood did so well decades ago. A delightful script, excellent acting, along with beautiful sets and deft direction make this simple movie stand up so well even today.

Cary Grant plays an angel that comes to assist the extremely controlling and obsessed Bishop, played by David Niven. While Niven prayed for divine help, he struggled throughout the film with accepting the help on anything but his own terms. He soon learns of Grant's mission, but others are unaware of his Heavenly origins. Grant plays his angelic role in a very deliberately paced and casual manner--almost like combining TV's Mister Rogers with the usual Grant persona! In addition to these two wonderful actors, the film also features Loretta Young, Monty Woolley, James Gleason, Elsa Lanchester and Gladys Cooper. All did a great job of providing color and support in the film.

Perhaps the biggest star of this film, though, were the sets, cinematography and direction. They created a really nostalgic sense to the film that seemed almost better than real life. The snow, the frozen pond and all the other aspects of the film just set the perfect mood. About the only negative at all (and it's a small one) is the skating sequence. While it was nice to see Grant and Young really ice skating in the beginning, using doubles for them as well as James Gleason wasn't very seamless. Having these doubles skating with darkened faces just seemed pretty cheesy but forgivable.

All-in-all, this is a nice fantasy film that should be enjoyed by most anyone except the most cynical viewers.