Le couple invisible

A carefree couple (Cary Grant, Constance Bennett) are killed in a car crash. They come back as ghosts to help their bank manager friend, Cosmo Topper (Roland Young), break out of his stuffy little rut and find happiness. I first saw this years ago and I remember being disappointed that Cary Grant isn't really the star of it, Roland Young is. This is probably the role Young is best remembered for, although it's very similar to some of his other roles. Namely that of a meek little man who mumbles and has funny deadpan reactions to things. He's likable and easy to root for. For their parts, Grant and Bennett are a lot of fun. They sing "Old Man Moon" with Hoagy Carmichael in one delightful scene. The supporting cast includes Billie Burke, Alan Mowbray, and a very funny Eugene Palette. The film was a success and led to two sequels and a TV series. It's a light screwball comedy with enjoyable performances and a good script. People expecting it to be a vehicle for Cary Grant might be disappointed but hopefully they'll give it a shot anyway.

George & Marion Kerby like to live life to the max, they party hard and pursue the good time with carefree abandon. During one devil may care drive home fuelled with excess, they crash into a tree and are instantly killed, yet strangely their spirits are still on earth, and it would seem they need to achieve something of value before they can hit the big house in the sky. Enter regimental prig Cosmo Topper, a friend and colleague of the Kerby's, and someone who is about to become their pet make over project!

Based on Thorne Smith's novel, "The Jovial Ghosts", this is a truly delightful picture, it steams along at a fair old clip, and clocking in at just one and half hours in length, it never outstays its welcome. It would have been very sad if this had become a one joke movie, I mean just how many ghost gags can you pull off before it gets tiresome? Thankfully the makers of this breezy romp have pulled it all together to consistently tickle the ribs. The spooky effects for 1937 certainly hold up well, for sure they are far from perfect, but with the tone of this particular piece being one of mirth and cheekiness, one finds that the effects carry a decidedly uplifting charm.

The film boasts a wonderful turn from Roland Young as Cosmo Topper, as he lurches from one incredulous situation to another, he carries the film with consummate ease. As the Kerby's we get the bright Constance Bennett and the irrepressible comic talent of Cary Grant, with Bennett only bagging the role of Marion when the already cast Jean Harlow sadly passed away a month before the shoot. Grant stepped into the role of George after W.C. Fields vacated it, and we can only guess what sort of picture we would have got with the original cast choices. Yet I simply can't envisage the film being improved upon because Grant & Bennett literally do bounce of each other with cracking results.

From one spooky set up to the next, Topper is a cure for the blues, be it fisticuffs with cops, or turning a hotel inside out, it is quite simply a delicious piece of 30s comedy pie. 8/10

'Topper' is a fun and playful movie which has several things going for it, starting with Cary Grant and Constance Bennett, who play a sophisticated married couple who enjoy staying out all night carousing. They are both delightful. Grant gets a little too reckless behind the wheel of his expensive sports car, and they end up ghosts, but there's no sadness here, and the only difference seems to be that they can now become invisible. They still have appetites (e.g. for alcohol) and can make physical contact with things. Does that make sense? I don't know, but who cares. The film works as a romantic comedy and relationship film, as Grant and Bennett are contrasted by a wealthy banker (Roland Young) who is stifled by his prim wife (Billie Burke), who has him on a tight leash and schedule. She needs to loosen up, and he needs to assert himself, and Grant and Bennett help that along in their own odd ways.

There are solid performances all around, and you'll recognize Burke from her role as Glinda the Good Witch in 'The Wizard of Oz'. The special effects are nice, including seeing Grant and Bennett fade in and out, and float various objects in the air (the tire changing scene is brilliant). It's also nice to see Hoagy Carmichael perform a catchy song, 'Old Man Moon'. Don't overthink it, and you'll enjoy this one.

"Topper", the delightful and original film directed by Norman Z McLeod, should be seen more often. It is one of the best things Hollywood ever produced at the height of the madcap comedy craze of the thirties. In fact, just to watch Roland Young, Constance Bennett and Cary Grant in the same film is a dream come true.

"Topper" has always been an old time favorite. We were treated the other night to watching it again, courtesy of TCM. The film's great black and white cinematography by Norbert Brodine looks good, even after these many years.

Constance Bennett and Cary Grant made a fabulous couple. Ms. Bennett had the uncanny gift of blending with all her leading men well. She was a charming actress with such a sense of style and an amazing figure to boot that made her an irresistible presence on the screen. Cary Grant is also seen at his best in the film as the careless and fun loving George Kerby.

Roland Young, in our humble opinion, steals the show! He plays the staid banker Cosmo Topper, who is all business until he starts being made the object of the Kerby's antics. Cosmo Topper's wife is the incomparable Billie Burke, one of the most gracious actresses of that era.

The rest of the cast is not too shabby. Alan Mowbray, Eugene Palette, Ward Bond, Hoagy Carmichael, and as an extra, Lana Turner could be seen backing the principals with their usual elegance and enormous screen presence.

"Topper" is a film that should be "rediscovered" by new audiences, as it shows how great Hollywood could be when it wanted to be original. But above all, "Topper" should be seen for the fantastic Roland Young, who is nothing short of perfection in the film!

When better than Christmas-time to watch a classic Hollywood fantasy feature, especially as it stars the great Cary Grant and sexy, sophisticated Constance Bennett. The film makes one obvious mistake in not naming the film after them, as the live-on-the-edge 24-hour-party-people couple who finally crash, literally, over to the other side when their car (and what a car it is!) hits a tree, leaving them as two disembodied spirits requiring to do a good deed before they can quit their earthly ties completely.

This then, they decide, is to be the emancipation of their middle-aged, henpecked bank manager friend, the only mildly rebellious thing about whom is his name, Cosmo Topper, played by Roland Young. Ordered about by his dull wife and domineering butler, Topper's worm gradually turns due to the influence of alcohol, Grant and in particular Bennett's coaxing but finally his own suppressed natural spirit coming to the surface.

A great screwball comedy, directed at high speed by Norman Z MacLeod, "Topper" is great fun from start to finish. The two separate lengthy opening scenes perfectly encapsulate the contrast between the high-flying Kerbys and the low-lying Toppers and it's no great surprise as to who changes who for the better by the final reel.

With the usual 30's comedy mix of sharp dialogue, slapstick and fine-for-the-time special effects to suggest ghostly comings and goings, the film entertains from first to last. Most surprising is the prominence given to a racy pair of lady's drawers not only in clearing a fashion store of its occupants but in later proving the catalyst for Topper's wife to go from strait-laced to frilly-laced and put the fire back into their staid marriage.

Grant and Bennett are great as the high-society duo who aren't on the screen enough (and I don't just mean when they're invisible in spirit form). Shame they didn't make another movie together, they're well-matched here. Young is fine too as the mousy manager who finally learns to roar.

This was a fun romp of a movie, with just a gentle live-for-today (but not too fast!) moral at its heart.