A Successful Calamity

George Arliss is marvelous as a successful financial agent (Henry) who suffers "A Successful Calamity" of his own creation. He has two children, Evalyn Knapp (Peggy) and William Janney (Eddie). As his character states, he wisely picked younger Mary Astor for his second wife (Emmy), after becoming a widower. You can spot Randolph Scott as polo coach, wearing a "bull's-eye" striped cap.

When this film begins, Arliss is returning home from a successful business venture; he ls looking forward to catching up with the family. However, his wife and children are caught up in polo matches and socials. Then, he announces he is financially "Ruined!" How will the family take their imminent poverty?

Mr. Arliss commands the screen in a way few actors do (Greta Garbo may be a good comparison). He uses both big and slight glances and twitches of face and body. He uses intonation of voice and is obviously aware of camera positions and continuity. Arliss is magnificent at a stuffy piano recital (watch every movement!), and delightful simply drinking tea. Also, watch how he changes his acting ever-so slightly when he tells Ms. Astor they are penniless.

"The poor don't get to go very often." is a line to watch for - first as uttered in a conversation with loyal Butler Connors (Grant Mitchell, in perhaps the best of the film's supporting performances); the scene triggers Arliss' plan. With "A Successful Calamity", Arliss has selected a role which enables a commanding performance.

********* A Successful Calamity (1932) John G. Adolfi ~ George Arliss, Mary Astor, Grant Mitchell, Evalyn Knapp

George Arliss was a senior stage and movie actor by the time sound came to motion pictures. But in "A Successful Calamity", he shows why he was one of the leading actors of his time that included the first three decades of filmdom. He still has a touch of the hammy in this film, where he seems to pan for the camera with subtle glances or short stops. Those were trademarks of silent films. Actors had to emote more in facial expressions and physical gestures to convey the scene's story sans sound. That was true also, though less obviously, for stage plays. But his panning in "A Successful Calamity" isn't so serious that it detracts from the film. Instead, we begin to see the great actor who was a master at conveying moods, thoughts, and feelings by his expressions and facial movements.

Arliss was British. He made most of his silent films in England, but most of his films with sound in Hollywood. In this film, Arliss plays a prominent financier, Henry Wilton. He has a fine supporting cast that includes Mary Astor as his young wife, Emmy "Sweetie," Evalyn Knapp as daughter Peggy, and William Janney as son Eddie. Some other actors – a young Randolph Scott as a polo coach, Grant Mitchell as Wilton's butler, and others add nice flavor to the film. But the heart of this movie is Wilton and his family.

The plot is very good. Arliss and Astor are excellent in their roles, but the acting of the youngsters in this film is pretty amateurish. The production qualities suffer some. Still, it's a good family story that should delight most movie buffs. To paraphrase Wilton in a scene toward the end, one never had so much fun as when one had so little to distract himself or herself from the important things in life. This is a nice film with a nice tale. Because Arliss was already a senior (age 64 in 1932) at the time of this film, he would only be in movies a few more years.

Adapted from the stage and expanded beyond a simple set, "A Successful Calamity" is an enjoyable cinematic parable that illustrates---through a simple deception---that money, though it is not the root of all evil, is not the measure of true success.

George Arliss plays financier Henry Wilton who, like Odysseus, returns from his journeys to find his home in shambles---not literally, but figuratively. He devises a risky scheme to help him determine how desperate thing are.

This is a light-hearted film due to its clever script and the masterful performance of Arliss, around whom everything revolves. With nuance of voice and manner, he elevates the comedy and injects tenderness into every scene. It's a heartwarming tale that must have carried added significance during the Great Depression.

The second of two films George Arliss & Mary Astor made together (the first was Man who played God, 1922). Successful stock market businessman Henry Wilton returns home to find his house in full turmoil - his wife is entertaining, and his dashing, perfect kids are busy with their lives and loves. Even when his business dealings start going bad, Wilton cracks jokes that no-one else seems to hear. When he can't get time alone with his wife, he devises a scheme to have more time alone with her. and... just like on I Love Lucy, his scheme backfires. Surprisingly good quality sound and photography for 1932. It was just post-silents, and you can still see a lot of black facial features make up on Arliss and others. Viewers will recognize Grant Mitchell as Connors, Mr. Wilton's butler, who appeared in tons of films, usually as a stern, serious leader. Fun plot involves the stock market, which is a little surprising, so soon after the stock market crash of 1929, but as someone has previously noted, the original play was written and presented in 1917.

A nice comedic performance from Arliss as a business man, whose family has no time for him. He feigns bankruptcy to get them to stay home with him, and is surprised at how they all rally to him. The ruse brings him unexpected financial benefits as well. Warm-hearted film though playing on only one note story-wise.

Mary Astor is fine in an early sound role and the supporting cast does well all around. It's a delight watching Arliss' facial expressions, which convey more subtlety than he could have produced on stage and show him a continued master of comedic timing.

Although only a few sets are used, they are well done and up to the usual Warner Bros. standards of the early thirties.