Invitación al amor

Not so much a Christmas movie as it is a movie that happens to take place during the Christmas season. This 1942 farce has a rude and elitist author/lecturer/high society man falling on the icy steps of an Ohio businessman and being forced to stay in the man's home for weeks. Monty Wolley plays Sheridan Whiteside who seems to have contempt to one degree or another for everyone around him. He felt it beneath him to even be somewhere like Ohio in the first place, and he is determined to make life miserable for everyone once he is marooned there. Whiteside has a put down ready for almost everything anyone says to him. His lines of dialog pretty much range from condescending flattery to outright insults. And let it be said here, that he is almost always hilarious.

Bette Davis plays Whiteside's personal secretary who falls in love with a local newspaper man and aspiring playwright. Davis confesses her intent to settle down with the handsome young man, and this is a matter of great concern for Whiteside since he would be nearly helpless without her. Even though his injuries have healed, he continues to act as though he is confined to a wheelchair for much of the picture. And most of the plot deals with Whiteside attempting to sabotage his secretary's blossoming romance.

The film lasts for nearly two hours and seldom lets the viewer up for air. This is a film that you may have to see several times to notice every clever line or plot development. And since it was originally a play, most of it takes place in one room. That being the living room of the put-upon Ohio businessman and his brow-beaten family. Along the way, Whiteside begins meddling in the lives of others, as well. He practically incites a rebellion by the couple's teenage children. He comes up with more insults than one can count for his nurse. And some of the funniest moments deal with an aging doctor attempting to get Whiteside to look at his manuscript about his profession. Many famous people appear and are referred to throughout the film. Most of the pop culture references are really dated, but not so much that it really bogs the film down. The acting is wonderful. Jimmy Durante and Ann Sheridan liven things up in support. The film is rather smug in how it was written by and about famous people who obviously look down on normal Midwestern folk. But the humor is harmless, and all too enjoyable. 10 of 10 stars.

The Hound.

Orry-Kelly manages to communicate the prinicpal female characters' personas without their speaking a word.

Ann Sheridan's willowy figure, plus his fluid blouses/gowns, minus any foundation garments left Monty Woolley struggling to keep his eyes on her face. I must admit, i couldnt take my eyes off her myself. Every entrance is a chance to revel in her delightful over-the-top style

Contrasted with Bette Davis' perfectly tailored wool suits and accessories, this film shows the exceptional range of Orry-Kelly's Costume Design in one film.

Fabulous.

Robert Osborne of TCM said that Warners intended John Barrymore but the Great Profile was too ill by 1942) for the role of Sheridan Whiteside (whose real life model was columnist & broadcaster Alexander Woolcott. Monty Woolley, who originated the role on Broadway (if one can originate what is a copy of the original) brought his smart performance from stage to screen. Others including Clifton Webb, Orson Welles, Simon Callow, Vincent Price and Nathan Lane have attempted the role with various degrees of success, and no doubt Barrynmore would have been great in the juicy, flamboyant role. Indeed, The Man Who Came to Dinner (MWCD), like all scripts written by George S. Kaufman and his various collaborator (Edna Ferber, Mac Connolly and Moss Hart) offers a great roles for all its actors. The screen cast was excellent, especially Reginald Gardiner who, in the role of Mr Beverly Carlton) captured Noel Coward perfectly. Gardiner and Monty Woolley recreated their roles for TV in 1954 (CBS' Best of Broadway 1954). Surprising to me was that Bette Davis actually underplayed and fit very nicely into the ensemble as the sane counterweight to a bunch of madcap egoists. Ann Sheridan sparkled in the slightly unpleasant role based on Gertrude Lawrence. And when did Billie Burke ever disappoint? Jimmy Durante played Banjo (based on Harpo Marx who, as a bachelor, palled around with the same sophisticated set in real life). Davey Burns created Banjo on Broadway, but Durante worked as a more famous casting choice, though in the 1954 Best of Broadway TV revival of this play, Banjo was played by Bert Lahr, and I preferred Lahr's performance. Although Mary Wickes was perfect as the nurse (she played the role in the Broadway production as well as in the film), Zasu Pitts was even more suited to the nurse ("Miss Bedpan!") role in the telecast, and casting Buster Keaton as the doctor in the TV version was brilliant. Most Kaufman plays, including MWCD, written with various partners (who probably supplied structure), remain playable and funny today. He was a master.

This delightful film is based on one of the three great stage comedies written by Moss Hart and George Kauffman, two of America's most celebrated comedy playwriting teams. A classic farce which spoofs the arrogance of the self important writer, Sheridan Whiteside, and exposes the hidden foibles of high society including a household member who is a secret axe murderer, it's nicely offset by a light comedy romance between two supporting players. Bette Davis gives one of her better performances as the female romantic lead and is, for a change, neither ascerbic nor bitchy. This is a nice piece of ensemble acting, and a perfect example of American comedy of its period.

Yes, most of the below reviewers are correct. "The Man Who Came to Dinner" is a splendid comedy. But what no one has mentioned - and this is especially relevant, given some of the negative comments here - is that Kaufmann and Hart wrote the play, basing the Whiteside character on their friend Alexander Woolcott, who was a hugely famous and influential - not to mention opinionated and acerbic - theatre critic of the day. The presence of Jimmy Durante, playing "Banjo" is important because a high profile member of the Woolcott "rat-pack" was Harpo Marx, clearly the model for Banjo. Monty Wooley played "Sheridan Whiteside" in the play's initial run (and of course here in the movie) but it's a tribute to Woolcott's ability to laugh at himself that during the play's national tour of the US Woolcott actually played the Sheridan Whiteside part himself. (I only know all of this because I've just finished reading Harpo Marx' autobiography, "Harpo Speaks", which I highly recommend to all IMDBers)