Topper

Hysterical movie, great characters, and watch for ghosts carrying Roland Young through lobby of hotel. Plenty of social commentary -- totally politically incorrect. My all-time favorite comedy.

'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.

A dead couple is determined to loosen up their friend in "Topper," a 1937 comedy starring Constance Bennett, Cary Grant, Roland Young, and Billie Burke. Cosmo Topper (Young) is a bank president whose wife (Burke) has him on a strict schedule and, though unhappy, Cosmo complies.

When bank stockholders George and Marion Kirby are killed when their car crashes into a tree, the two become worried about what St. Peter will have to say to them. They were, after all, two fun-loving, hard-drinking, partying kooks. They decide they must do a good deed before approaching the pearly gates so they make loosening up Topper their project.

This is a wonderful film that inspired the Leo G. Carroll TV series with real-life marrieds Anne Jeffreys and Robert Sterling as Marion and George. The special effects in the 1937 film are groundbreaking and ingenious. Mores have changed over the years - driving drunk is no longer acceptable. I'm afraid George and Marion would be heartily disapproved of today. Nevertheless, they're a gorgeous, glamorous couple and the real stuff of fantasy. Bennett only has a couple of years of big stardom left and, with his second billing, Cary Grant is still on the ascent. They're both hilariously madcap, Grant blasting into a stockholders' meeting and trying to take notes, and Bennett flirting with poor Topper in her silky voice.

Roland Young is the perfect Topper - henpecked, confused, and a nervous wreck. He's a man dying to break free of his shackles, and he's always envied George and Marion's lifestyle, even though it killed them. His frustration and unhappiness make him sympathetic, and the audience is with him all the way.

Very enjoyable, with some effects that were eye-popping in 1937. Don't miss "Topper." It's a classic.

With a fine cast and some good and occasionally impressive special effect camera tricks, this is a decent fantasy feature. It makes its main gimmick work well, while also telling a light but interesting story about the main characters. The idea of ghosts returning to interact with the living is a simple and familiar idea, but in this movie it works pretty well.

Cary Grant is always entertaining in this kind of role, and Roland Young fit right into the role of "Topper" and made it his own, in this and the sequels. Constance Bennett gives a very lively and engaging performance that also drives much of the action. Billie Burke is well-cast as Topper's wife, and Eugene Palette makes very good use of his scenes as a grouchy hotel detective.

The 'ghost' effects are very good technically for their time, and they are used effectively in the story. There is a lot of variety in the various visual effects, and they show some clever ideas and careful planning. Only a couple of times do the seams show.

The story is kept very simple, probably by design, allowing the cast and the camera effects to carry the load. Although things move a little slowly at times, most of it is entertaining, and as light entertainment it works well.

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.