Erbschaft um Mitternacht

It may sound strange, but there was something so cute and appealing about Bob Hope in the '30s and '40s. I loved that guileless, spineless sweet character he played.

Here Hope is in top form in "The Cat and the Canary," the 1939 version also starring Paulette Goddard, Gale Sondergaard, John Beal, Douglass Montgomery, George Zucco, and Elizabeth Patterson. A group of relatives have to spend the night in a haunted house after the reading of their late relatives' will.

Hope and the beautiful, vivacious Goddard are wonderful together -- so good, in fact, that they did it again in "Ghost Breakers." No one could do one-liners like Hope.

This movie is a lot of fun, with secret panels and things that go bump in the night. Delightful, funny, and spooky.

CAT AND THE CANARY still is a great mystery/comedy film. With it's two young stars Bob Hope and Paulette Goddard, who go on to make yet another two films together, THE GHOST BREAKERS and NOTHING BUT THE TRUTH, there is great fun and thrills as they spend the night in a spooky old house with several guests that disappear or are found killed mysteriously. Paulette inherits the place through a will, including a jewel necklace which she promptly places under her pillow before going to bed. There is a scary scene with the damsel in distress in bed sleeping, and a hairy grotesque hand slowly starts to creep over her pillow. A wonderful performance by the supporting cast including Gale Sondergard as an evil-looking housekeeper, George Zucco, again in a thriller, and Elizabeth Patterson and Nydia Westman as the two dizzy relatives. This film put both of the leads over the top and onto major star caliber. Rarely on television, it can be seen around Halloween on American Classics.

This has always been one of my top10 favourite films, since I first saw it in 1972, at least 14 times since. Bob Hope was still a little green at this stage, but you can almost see (and hear) him coming of age in CATC, his comic delivery technique and timing noticeably improved by the end. The spooky atmosphere generated onto the b&w nitrate stock by the Paramount cast and crew was palpable, compare it - if you can stomach it - to the 1979 remake!

8 people are summoned to a will-reading at a rather eerie old house; the one that wins the fortune seems to be going insane as one of her relatives sweetly puts it, whilst another just says she's going out of her mind. There's only 2 nice people here, Hope and Goddard, the rest are more or less on the make. She's the visual jewel in here - as Hope says, "Terrific". The scene with Goddard and the Cat in the library is my all-time Spooky Moment on Film - nowadays all the "artists" involved in the making of "horror" films don't trouble about niceties like Spookiness, but just get on with the Gore. That of course is the problem for most people coming to this, they've probably inured themselves over the years to see disgusting and vile-ent things - so much so that they would laugh at the most savage scene in this where someone gets knifed in the back. The 1927 Laura LaPlante version is good and nicely atmospheric too, but it's difficult comparing chalk and cheese to silent and talking pictures - they're both great comedy films on their own merits.

A wonderful piece of art, topped the next year with an even better follow up, Ghost Breakers.

Most of Bob Hope's films rely heavily on the humour of the times, with references to political and cultural events figuring in significantly. Sometimes this detracts from his films, because the humour is not always self-evident. Not is the case with his performance in the remake of Paul Leni's The Cat and the Canary. Hope has one great one-liner after another in this old dark house mystery-comedy. The story is pretty familiar: a group a relations must stay a night in a house, listen to a will, and then remain there for the evening to see if the inheritor remains sane throughout the evening. Of course, we the audience are treated to secret panels, an occasional murder, hooded culprits, and a great mystery. The Cat and the Canary works so well for a number of reasons. First, it is a very atmospheric film taking place in the swamplands of Louisiana. The film is by no means big budget but does do the most with what it has. The surrounding swampland have an authentic feeling to them and the house itself is magnificently eerie. The cast is quite good with Bob Hope saving the film from tiresome formula with his special brand of humour and his excellent timing. Despite his great performance, he is almost upstaged by Gale Sondergaard as a dark, brooding servant. George Zucco also has a nice supporting role. All in all a nice way to spend an evening.

The silents brought us a number of classic comedians who were skilled at making the audience laugh without uttering a word. With the advent of sound, some of these comedians found the transition hard and most still relied on their old silent routines for their jokes. Bob Hope was the first comedian who's mouth provided the punchline. The Cat and the Canary was his first leading part and yet it's not designed purely for his advantage, this is a great picture, both funny and exciting.

Bob Hope is the star. He's hilarious. He's sympathetic. He's also a coward, which isn't such an asset when you're staying in a house filled with escaped lunatics, suspicious servants, and numerous trapdoors. Hope plays a radio personality who involuntarily becomes the bodyguard to a woman, Joyce, who recently inherited a lot of money. The house is filled with other guests that are upset at having lost out on the inheritance. To make matters worse, if Joyce dies within a month, the money goes to whoever was the substitute inheritor and that person's name lies in an envelope safely hidden in a safe. As guests start dying, the tension increases, as does Hope's one-liner's. "I've got goosepumps. In fact, my goosebumps have got goosebumps."

Today, the plot seems like one from an episode of Scooby-Doo but it's still fun and surprisingly smart. The cast is small but solid and the murderer is never guessed until the end. A few red herrings are thrown in but when the guilty party is revealed, it does make sense, a necessity rarely used in Hollywood today.

As a vehicle for Hope it works a charm. As a movie in itself it should be recognised as a classic.