Dinner at Eight

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!

Dinner at Eight is one of the consummate movie buff's movies...

It has romance, glamour, wit, charm, intrigue, interesting characters and a great story.

The agonies that Mrs. Oliver Jordan (the incomparable Billie Burke [Are you a good witch or a bad witch?]) must go through to stage what is supposed to be a simple dinner party will leave you laughing, sympathizing and grateful you are not her.

Jean Harlow is at her most beautiful. She radiates an overt yet somehow innocent sexuality that shows why she became a major star so quickly.

Marie Dressler proves why she was so heralded. Her acting cannot be called subtle -- but it is always effective.

After watching this film you will wonder if people ever really did live this way. Strangely enough, I believe they probably did.

"Darling, I've got Lord and Lady Ferncliffe [...] You remember the Ferncliffes from London, do you darling?"

"Yes, yes.. and how dull they were, eating mutton."

I just love it! This lavish all-star MGM-production still is great entertainment. Some of it's notions are somewhat dated perhaps, but with this team behind - and in the film - nothing can go wrong.

A portrait of various strata of New York society, the clash between the newly riches and the old elite, the Old and New World, the battle of the sexes (between Wallace Beery and Harlow), Gotham in a nutshell. Nothing is "really" happening, the same as its "twin brother" GRAND HOTEL and essentially it's a filmed play (based on the play by George S. Kaufman and Edna Ferber), but with this cast there are no complaints. You don't hear anyone complaining about David Mamet's GLENGARY GLENN ROSS's filmed play, do you? Jean Harlow, "the Blonde Bombshell", as the deliciously vulgar wife of Wallace Beery, the new man in town, trying to connect with the New York elite and Washington politicians. John Barrymore is fantastic as a once famous actor from the silent era, who cannot accept the fact that his career is over.

To me the film is just a perfect time capsule of so many typical topics of the era: the depression, the transition from silents to talkies, the continuous transformation of the upper crust of New York society, the traveling by ocean steamer to Europe... It's actually a very rich film, no matter how fluffy it might look (in the case of Jean Harlow's wardrobe quite literally). And when given a treatment like this, the top-notch cast, good writing, gorgeous sets under the supervision of David O. Selznick and George Cukor, it's a feast for the eye.

Camera Obscura --- 9/10

A flamboyant old actress with memories of lovers long dead. An alcoholic actor desperate for one more chance on the stage. An Oklahoma tycoon and his below-the-tracks, tough as nails wife. A philandering doctor and his faithful wife. They're all invited to meet tonight at the mansion home of a dying industrialist and his flighty, society-obsessed wife for DINNER AT EIGHT.

Following the great success of GRAND HOTEL in 1932, MGM & producer David O. Selznick embarked on producing an even greater all-star triumph. They succeeded. DINNER AT EIGHT takes a first class list of performers at the top of their form (Marie Dressler, John Barrymore, Lionel Barrymore, Wallace Beery, Jean Harlow, Billie Burke) and seamlessly, if a bit implausibly, weaves a plot full of comedy & tragedy which allows each star to strut their stuff.

Dressler was Hollywood's top star at this time and she is wonderful, fingering her jewelry - each piece a remembrance of an ancient romance. She has only one scene with gorgeous Harlow and that comes at the very end of the film, but it's a classic.

The rest of the cast is a wonderful grab bag of talent: peppery Lee Tracy, elderly Louise Closser Hale, gentle Jean Hersholt, as well as Phillips Holmes, Edmund Lowe, Karen Morley, Madge Evans, Grant Mitchell, Elizabeth Patterson, May Robson, Herman Bing.

Take a moment to consider Edward Woods, playing Eddie the bell boy. The year before at Warner Brothers he had traded roles with James Cagney in a little picture called PUBLIC ENEMY. Cagney became an instant, huge celebrity. Woods continued to play bell boy roles...

"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."