La grande nuit de Casanova

1953's "Casanova's Big Night" may not have lit up the box office that year, but it's still one of Bob Hope's last truly great comedies, playing on his fast patter and brave coward persona while slyly acknowledging his off screen reputation as a ladies man. As usual, he assembles a fine cast of veteran players, with beautiful teen newcomer Audrey Dalton playing it straight as damsel in distress, Joan Fontaine going for laughs as Bob's leading lady Francesca. Even better for often deprived horror fans is the array of talent lined up to play the villains, apart from Basil Rathbone's triumphant return to Hollywood since retiring from the Sherlock Holmes series a decade earlier. Also back in Tinseltown for the first time since 1946 is John Carradine, whose Foressi is like that of Raymond Burr as Bragadin, a secondary minister to Arnold Moss as the powerful Doge. Curiously unbilled as the actual Casanova is Vincent Price, clean shaven and certainly handsome enough, first taunting Hope's hapless tailor for impersonating him to infiltrate Francesca's bedroom, then needing his assistance to avoid the unpaid bills of grasping creditors. Last but not least is Lon Chaney at the one hour mark, announcing himself as 'Emo, the Murderer from Milan,' who offers an imprisoned Bob an escape from their cell for a simple exchange of clothes (he was prominently featured in Hope's 1946 "My Favorite Brunette"). A pleasant nod to Chaney's Lennie in "Of Mice and Men" arrives when a mouse is found in Emo's pocket, which he promptly disowns: "he must be yours!" Rathbone too enjoys this comic resurgence as Casanova's valet, soon reuniting with Carradine in Danny Kaye's "The Court Jester," proudly displaying his fencing prowess on both occasions.

Hope was at his peak when this film was made. It has many of the same elements as his Monsieur Baucaire, a costume drama about a person above his station carrying out an impersonation, getting involved with good looking chicks, fighting comic duels, etc. Hollywood back in the late 40s and early 50s was not above recycling a hit. I love seeing these old films again with the great comedians of those times, Danny Kaye, Red Skelton and, of course, Hope. Their timing and ability to make the corniest gags work still amazes me. Also, this film has so many of the wonderful character actors that made the old studio productions such a treat. These are faces that only the most serious of trivia buffs will recognize and put the names on, but here we have Arnold Moss, Frank Puglia, John Carridine, Lon Chaney Jr., John Hoyt, Primo Carnera, Hugh Marlowe and a very young Raymond Burr. The comparisons by another reviewer with Woody Allen are interesting but, hey! Hope was first.

Haven't seen it in awhile, but recall it as being very quotable in a Monty Python sort of way...

(scene: prison cell) Bob Hope: "What time is it?" Prisoner: "Oh, around 1758."

Although I haven't seen the film since the first run showing, I'll never forget the scene where Bob Hope (as Pippo Popolino aka Casanova) was in a gondola in Venice. He dips his finger in the water, sniffs it, and says "Canal Number 5."

Wow, what a cast! This Bob Hope film sure sported a long list of wonderful supporting actors, such as Joan Fontaine, Vincent Price, Basil Rathbone, Raymond Burr, John Carradine, John Hoyt, Lon Chaney, Jr.and even the ex-boxing champ, Primo Carnera! It's really amazing to see so many familiar faces in a rather ordinary sort of film.

Hope plays a tailor's apprentice who is roped into impersonating the famous lover, Casanova. It seems the real Casanova is a deadbeat and his many creditors have devised a plan to use Hope in his place. All Hope needs to do is try to seduce a young lady (Hope Emerson) to see if she is or is not virtuous--as her prospective mother-in-law wants to test her. He is assisted by Rathbone and Fontaine (who is WAAAY to old for this role). Naturally, things don't go as they all planned and soon Hope is running for his life.

As for the film, it's pretty much a typical 1940s-50s Bob Hope film--very pleasant and fun, but not particularly outstanding--even with the excellent supporting cast. High points would include a cute prison cell scene and a cute ending. And, among the lamest moments was Hope in drag. While cross-dressing is usually a sure laugh-getter, Hope's routine is pretty poor and this good idea falters.