Les invités de huit heures

This film followed MGM's great success of the previous year, "Grand Hotel", as it afforded the studio a showcase for some of its talented stars. "Dinner at Eight" is one of the classic plays of that era, having been written for the stage by George Kaufman and Edna Ferber. The screen adaptation of the play is by Herman Mankiewicz, Frances Marion and Donald Ogden Stewart, some of the best writers the movies ever had. The film, under the impeccable direction of George Cukor makes "Dinner at Eight" one of the classics of the American cinema.

"Dinner at Eight" is a comedy, at heart, but there are elements of drama in it, as well. On the one hand, it offers easy laughter for the viewer, but it also has a dark aspect in its dealing with alcoholism and adultery. The film, like its predecessor, offers several story lines that keeps us interested in the different relationships the film presents for us.

"Dinner at Eight" boasts one of the best casts ever assembled for a movie. Marie Dressler, who is seen as Carlota Vance, was one of the best actresses working in the movies at the time. Lionel and John Barrymore had been seen together in "Grand Hotel" and both play pivotal parts in this film as well. The effervescent Billie Burke is one of the best things in the movie. Ms. Burke was one bright star whose contribution to the success of the films she appeared in was a guarantee for the people behind any project.

Wallace Beery plays the boorish and influential industrialist Dan Packard, a man to be reckoned with. Jean Harlow portrays his wife, the low life Kitty, who was two-timing Dan. In a way, Dan and Kitty seem to have been the prototypes for Garson Kanin's "Born Yesterday" because both characters bear a certain similarity in both films.

The supporting members of the cast are impressive. Edmund Lowe, Lee Tracy, Madge Evans, Louise Closser Hale, May Robson, Jean Hersholt, Karen Morley, and the rest, aside from giving good performances, leave their own mark in the film.

A great cinematographer was behind the camera for this movie: William Daniels. His amazing work is one of the best in any of the pictures he photographed. Mr. Daniels knew how to direct his camera to get the most out of these talented actors one sees in "Dinner at Eight" Of course, this is a film that bears the David O. Selznick signature, for it was he who decided to transform the play into a motion picture and he succeeded in doing it. Most of the creditor must go to director George Cukor, who was truly inspired in making "Dinner at Eight" a movie that has endured the passage of time.

When you gather together the great stars of the early 30's, give them a great script, a great director and let them have their head, you get "Dinner at Eight". This is a delightful film which bridges the gap between comedy and drama. Granted, it is a little dated but that it only a minor inconvenience to those of us who love this movie.

You would be hard pressed to find another actress who could play the part of Carlotta Vance with such panache as Marie Dressler.......she is magnificent. She may give the best performance in the film but she has stiff competition from the rest of this star-studded cast.

I find John Barrymore's performance particularly good as it seems to mirror his own career and problems with alcohol. Arranging himself in the right light to capture the great profile one last time is poignant. I am not a Wallace Beery fan but he is spot on as the vulgar, grasping business man with wonderful Jean Harlow as his slutty wife. She is a treat and of course, no one can forget her exchange with Dressler at the end of the film when she announces that she was reading a book! The lovely Billie Burke, who made a film career out of dithering society women (although she was a former Follies beauty and wife of Flo Ziegfeld)is a delight. Lionel Barrymore plays it pretty straight as her long suffering, tragically ill husband. Edmund Lowe passes muster as the philandering doctor and the rest of the supporting cast is as good as it gets.

They don't make 'em like this anymore. It's a movie lovers paradise!

If like me, you're more familiar with the early 30s Warner Brothers movies when Daryl Zanuck was at the helm which focussed on how the poor struggled with - and usually overcame the deprivations of the Great Depression, Dinner at Eight will take you a while to get used to. You might think it's not for you but you should stick with it - it's worth it.

Rather than finding Joan Blondell doing anything she can to avoid starvation or James Cagney turning to crime to feed his family, this film is about how the rich ultra-privileged cope with the economic disaster. Whilst their situations are not life or death choices, they're just as devastating for them - or they think they are.

When compared with what was happening to millions of working and ex-working people, the awful tragedy of Billie Burke not having an aspic lion ready for the dinner's centre piece may sound absolutely trivial - which of course it is - but this film shows how such pointless trivia is ruining her life. It's very clever.

It is a clever film (based on a clever play) but perhaps not that easy for us in the 21st century to engage with. Despite some descriptions it's not a comedy, it's not easy viewing and after the first half hour it would be easy to switch off thinking that it's over-hyped and boring but don't - keep with it. It's one of those films that sticks around in your head days afterwards because it's actually very good. Considering the talent and expense that went into making this that's not surprising. MGM pulled out all the stops with this and it really shows. Surprisingly even Jean Harlow shows that she can actually act!

Essentially it's theme is 'rich people are suffering too.' It focusses on a small group of 'privileged people' preparing for a big society dinner party but nobody is whom they seem. Some are living in a fantasy world they've invented and can't survive outside of it. Some have clawed their way up from the gutter to the top of the ladder only to find out that they're now teetering on the edge of a fragile precipice but to keep their social position, to maintain the facade which they need they must keep going even though they know their only option is to plummet down the ground. It's about a false world of vulnerable unhappy people figuring out (or indeed giving up on) how to cope with their futures. That sounds a miserable premise for a film and indeed it's not the most cheerful of movies but the witty script and professional direction make all these characters very real, multi-dimensional and personable. Of particular praise is John Barrymore playing a former superstar actor now virtually a destitute and penniless has-been, slowly killing himself with cheap whiskey. Because this role is essentially his own life by 1933, his performance is poignantly tragic and very moving.

"Dinner at Eight" is a 1933 film that still holds up when viewed by today's audiences. How odd that it wasn't even nominated for an Academy Award. This could be because it is quite similar in form to "Grand Hotel", which won the Best Picture Oscar the year before. It really is more of a comedy/melodrama than pure comedy, since there is much tragedy unfolding during the movie. Aging star Carlotta Vance (Marie Dressler) is broke, silent film star Larry Renault (John Barrymore) is "washed up" and a hopeless alcoholic, and Oliver Jordan (Lionel Barrymore) is in danger of losing his shipping business. While these people are all struggling, the only characters that are doing well are the reptilian Dan and Kitty Packard (Wallace Beery and Jean Harlow). Dan Packard is a self-made millionaire with no ethics, and his wife is a gold digger with eyes for another man - her personal physician. The lives of the players all intertwine in ways that are unknown to them, with the depression-era message being that the rules of life have changed in ways that had never occurred in the U.S. before. The vice of the opportunistic social-climbing Packards is rewarded, while the well-heeled of yesteryear, playing by the rules of the past, have nothing but their memories and faded finery left to comfort them.

Of course, there are plenty of comic moments. Billie Burke's performance as Mrs. Jordon is hilarious as her prime concern is that her carefully planned dinner party is coming apart before her very eyes. She comes across as a kinder, gentler Marie Antoinette when she acts like the accidental destruction of her centerpiece dish, a lion-shaped aspic, is the end of the world. Although many have said that Jean Harlow steals this picture, and her talents do shine through, I think Marie Dressler's comic touches really help make the film. For example, when a forty-something secretary mentions that she saw Dressler's character perform "when she was a little girl." Dressler replies that the two must get together some evening and discuss the Civil War. Dressler also makes the very last scene of the movie. As everyone is going into dinner, she finds herself in conversation with Harlow's character. First off, she does a hilarious double-take when Harlow mentions she's been reading a book. Next,Harlow tells Marie Dressler how this book she has been reading says that machinery will soon take over every profession. Marie Dressler looks Jean Harlow up and down as only she could do and says "My dear I don't think you need to worry about that."

What a cast - MGM's finest in a series of vignettes leading up to Mrs Jordan's dinner party (which we never actually see). Jean Harlow is at her wisecracking best and her most stunning; Marie Dressler and John Barrymore are terrific as washed-up actors; everyone is just excellent. Everything that can possibly go wrong does - you can't help but sympathise as Billie Burke's Mrs Jordan gradually gets more and more ruffled by the day's events. Some great one liners and yet another excellent entry on Cukor's CV.