Wie leben wir doch glücklich!

Considering the obscurity of this film, it's a big surprise to see how well made, visually rich and entertaining it is, despite, as others have noted, its unoriginal premise. The dialogue is frequently funny but not up to the standard of MY MAN GODFREY - too much of the eccentricity seems to be forced and a bit cutesy but the cast overcomes all. Clarence Kolb steals the film with his masterful slapstick but he's first rate whether playing stern-and- sober, falling-down drunk or warmly empathetic. Though Billie Burke was Oscar nominated as the ditzy society matron mother, her performance here is no better than it was the year before in TOPPER or five years before in DINNER AT EIGHT (now THAT was an award-worthy turn!). Perhaps because this particular role was as over-the-top ditzy as such roles get, Hollywood decided it was time to honor it. What a splendid cast: Constance Bennett in fine form; Brian Aherne at his best - called upon to be elegant, dashing and charming, he accomplishes all three. Cary Grant would have given the character more oomph, but Aherne's reserve works here. Then we have the inimitable Patsy Kelly as a kitchen maid, the underused Ann Dvorak as a predatory Senator's daughter who lusts after Aherne, Bonita Granville as a wild, irrepresible teenage daughter, and last but not least Alan Mobray as the snooty butler being undermined by one indignity after another; his double takes are hilarious. Near the beginning there is an accomplished scene in which Aherne's wheezing jalopy rolls for what seems like a mile down a mountainside until it's totalled: no editing tricks here. Being a Hal Roach film there are of course generous helpings of slapstick, but they're brilliantly staged and expertly carried out by actors who are also capable of delivering deft overall performances. Every actor has at least one extended scene of well staged physical comedy. The opening credits are fun and welcoming: the whole cast is walking through the gates of the property with arms linked, singing the swingy title song. So, even though the concept of this film is derivative, its execution is fresh and alive.

A highly intelligent ‘tramp' is hired to become chauffeur for an eccentric, wealthy family.

MERRILY WE LIVE is a prime example of a tremendously funny screwball comedy which has become undeservedly obscure with the passage of time. Bright & breezy, with snappy dialogue and some wonderful performances, it is a complete delight. The production values are excellent and the film's free spirit is perfectly encapsulated by the opening shot in which the principal cast marches arm-in-arm along the estate's long driveway while the credits and title song role.

Suave, sophisticated and just a wee bit naughty, British Brian Aherne is the perfect match for crisply cool blonde Constance Bennett. Their growing attraction to each other, hidden behind a rivalry for intellectual dominance, is great fun to watch. This ‘hobo' has much to teach the rich girl about life & love.

A very fine supporting cast offers much to the film's enjoyment. In one of her best roles, dithering Billie Burke, as Miss Bennett's utterly out-of-touch mother, is a complete joy. Alan Mowbray plays the proper English butler who experiences frequent bouts of emotional distress. Ensconced in the kitchen, tough-talking Patsy Kelly is the family's cook with a strong yen to stir-up some romance with handsome Aherne.

Impressively agile Clarence Kolb is Miss Burke's grumpy husband. Tom Brown & Bonita Granville are their two younger, spoiled children. Philip Reed plays a bullying society Lothario interested in Miss Bennett. Ann Dvorak is a senator's headstrong daughter who usually gets what she wants and what she wants now is Aherne.

Even the smaller character roles can be fun: watch for Sidney Bracey as a sour-faced temporary butler & Willie Best as a very frightened country store janitor.

As has been noted before (often), this is a brilliant screwball comedy and yet somehow "a lost movie." How do such things happen? Fate, I suppose - which is no answer at all.

Do, however,seek out this film when you can find it. I saw it on Turner Classic Movies (God Bless Them), and I will make it my business to gather a crowd when viewing its next showing.

Considering how across-the-board dazzling the film is, I hate to single out anyone, but Clarence Kolb, who plays the always exasperated "pater familias," and whom we have all seen in dozens of movies, here displays a mastery of physical comedy that is singularly impressive and downright hilarious.

Unlike "Ninotchka" (1939), with its witty innuendos and tight screenplay, "Merrily We Live" is a wacky, completely irreverent screwball comedy, similar to the style of "Philadelphia Story" (1940)or "Bringing Up Baby" (1938). I laughed through the whole movie, sometimes so hard I couldn't even breathe! It is a tongue-in-cheek look at philanthropy, and thoroughly joyous. Billie Burke is brilliant, Brian Aherne a handsome and charming rogue, and Constance Bennett lovely and amusing. I too wonder why this has not been released on DVD. After all, it did garner five Academy Award nominations (but won nothing). What does it take to get MGM to release this on DVD?

This is hardly an original film, as it was apparently a variation on the 1930 film WHAT A MAN. Plus, it's amazingly similar to the 1936 hit film, MY MAN GODFREY. However, despite being so unoriginal, the overall film is amazingly watchable and a lot of fun.

Like in GODFREY, the rich family that is the focus of the film is amazingly ditsy and....well, nuts! Unlike GODFREY, most of the insanity is concentrated into the mother (played by Billie Burke)--though as the film progresses, you come to realize they're all touched! As for Burke, her stupid schtick wears thin at the beginning of the film (making you wonder why the other family members haven't killed her). But, fortunately, as the film continues, she is given such wonderful lines of dialog that I really am glad they didn't kill her. Additionally, the rest of the family's dialog was great as well--showing that the writers were really hitting their mark.

The film is about Burke's bizarre habit of bringing home hobos to rehabilitate them, though in many ways they were treated more like pets or toys than people. The rest of the family is sick of this because the hobos are usually thieves or opportunists, so it's no wonder that when Brian Aherne is taken in by Burke that the rest of the family is angry and wants Aherne to go. However, what's really strange is that although Aherne is dressed like a bum, he never WANTS to be saved by Burke and he more or less becomes a part of the family against his will! As the film progresses, like Godfrey, Aherne is obviously more than just a man down on his luck--leading to a dandy conclusion.

The film has excellent and well-paced direction, wonderful writing and an excellent ensemble cast. It is actually quite surprising that this film isn't more well-known, as it's one of the better comedies of the 1930s.