Heaven Can Wait

This movie shows how wonderful films were back in the 1940's. Heaven Can Wait is a delightful and very funny romantic comedy about a man who retells his life to see if he belongs in heaven or hell.

Don Ameche, as Henry, shows again that he may have been the most underrated actor of his time. Charles Coburn, as Grandfather, is hilarious. Gene Tierney as always is beautiful as always, in my opinion the most beautiful woman in film.

Romantic comedies today are not made like this . You actually get a feeling that this relationship is real and can actually happen. Todays romantic comedies seem so contrived. If u want to spend two hours and laugh, cry and just have a great time, watch Heaven Can Wait.

Do NOT confuse this comedic gem with Warren Beatty's 1977 film of the same name -- that was actually a remake of a different 40's classic, "Here Comes Mr. Jordan." But, this is much better, and even more imaginative. Ameche is brilliant, versatile, and amazingly handsome as the protagonist. Laird Creagar is excellent as Lord Satan, and Allyn Joslyn and Eugene Palette head a great supporting cast. One of the wittiest comedies ever made. Don't miss it.

"Heaven Can Wait" lies among Ernst Lubitsch's best movies, and that's largely enough to ensure that it is a masterpiece.

It is the exquisite story of the women-devoted life of a never-repenting Casanova, from childhood through old age, death, and even after-death. We find Lubitsch's trade-mark elegant sense of humor, perfect timing, sharp intelligence. There is also a rather deep, though cheerful, representation of common, typical sides (faults, to say better) of a male character: shallow sentiments, selfish approach to a woman's true love, childish refuse to accept years passing.

The stars Don Ameche, Gene Tierney, Charles Coburn make a superb work. However, a main credit of the film is the cast of incredibly nice actors (willingly?) gathered by the director. The Devil himself (Laird Cregar) is likeable, with his perfect manners and friendly approach! We are unable to dislike even those shrewish old rich women, who pop out along the movie. It's impossible to give the deserved credit to all those wonderfully talented supporting actors. Let me mention the delightful butler Jasper (Clarence Muse), with his role of ambassador between Mr. and Mrs. Strabel.

To be personal, I'm very fond of "Heaven Can Wait", since it was my first encounter with Gene Tierney. When she appeared on the screen I couldn't believe my eyes: "Who, who, who is this girl? I'm dreaming or what? Does this girl actually exist?" Honestly, I felt dizzy for the remainder of the movie.

Only after repeated views of "Heaven Can Wait" I was able to distract my eyes from Gene, and fully appreciate the great merits of this magnificent, highly-recommended Lubitsch's masterpiece.

Heaven Can Wait (1943)

Brilliantly rich in color, speeding through decades of a man's life, and tumbling with jokes and situations time and again, this movie has style and sophistication written all over it. On the one hand it's chipper and funny and clever, on the other it's a hair stuff and forced, or what director Ernest Lubitch would call stylized and refined.

The entire story is a flashback of a man named Henry sitting in purgatory looking at the underestimated Laird Creger. I think Henry expects to go to hell next, and so there's an impression that we'll see just how bad he's been in life (and you wish he had been more bad, actually). If you have this feeling of tolerance as you laugh and the movie speeds through its opening scenes, hang on! It rises up several notches and truly takes off when the two main leads arrive: Don Ameche who is rather good as the center of the tale and Gene Tierney who is totally wonderful as Martha, the woman of increasing interest. Tierney plays roles that combine reserve and style with a kind of undercurrent of mischief very well. She has to keep a slightly false style to fit the Lubitch sense of a "comedy of manners," but she otherwise is less of a caricature than the rest of the cast, her and Henry.

Speaking of caricatures, boy is this movie loaded up. Martha's parents are an extraordinary high volume pair, Marjorie Main and Eugene Palette (they could make an entire movie of their own, which you'll appreciate once the Kansas scene is established--there are some moments with the servants that are masterpieces). Henry's grandfather is the always impressively quirky and complex Charles Coburn, who luckily lives through many scenes.

The color (true Technicolor) is a character of its own here--the opening scenes of purgatory are like a color version of Mr. Thatcher's famous library in "Citizen Kane," the bedroom of the newly married Martha is a pink and baby blue wonder. Skin tones glow, flowers (of which there are many in this upper crust world) and drapes (all very fancy) pop off the screen, and most of all, that first blue dress that Martha wears is something to wonder at. The photographer, Edward Cronjager, was a staple of great 1930s films, and he got an Oscar nomination for this 1943 film (and D.W. Griffith said it was the finest footage ever filmed). And speaking of "Citizen Kane," there are several echoes here--the photograph that (almost) comes to life, the telling of man's life including his old age, and there's the long long dining room table between Main and Palette--that may or may not be intentional, but it's there, for sure.

"All my life I've wanted to run away with a woman," says the grandfather. "And it's happening!" But not like you think. Check out this very funny and beautifully filmed bit of escapism, which came out right in the middle of World War II. A welcome relief even to this day. And you know what's amazing about movies like this ("Dinner at Eight" comes to mind, too) is how really moving they eventually become--regular tear jerkers. But I'm a sucker.

This is the last of a series of hit comedies Ernst Lubitsch made in the years just before and during World War II. Ninotchka (1939), The Shop Around the Corner (1940), That Uncertain Feeling (1941), To Be or Not To Be (1942), and this one, Heaven Can Wait (1943), make up the core of a very successful body of work for one of Hollywood's finest directors.

If there is one phrase to characterize the "Lubitsch touch," then I would say "light romantic comedies," the kind made popular by Hollywood in the late years of the Depression. His films didn't have the subtle commentary on American life that Capra's did, but were more along the lines of old fashioned entertainment.

Heaven Can Wait is based on a play written by a Hungarian (all of Lubitsch's films during this period were written by European emigrés like himself, and as such have a more cosmopolitan flair than most American films). It follows the life of a Victorian playboy, Henry Van Cleve, of Fifth Avenue, New York, and is told in retrospective by the hero as he explains his life to His Excellency, the Devil.

Don Ameche is the main character and delivers a fine performance as the boyish rogue who falls in love with a beautiful girl from Kansas City, played by Gene Tierney. The film covers Van Cleve's life from childhood through a reckless adolescence up through his happy marriage and the years after his wife dies. It's a sentimental journey told with much levity.

The film has a number of terrific character actors in it, the most notable performance coming from Charles Coburn, who plays the grandfather everyone wishes they had - quick witted, caring, and always supportive of his grandson. Marjorie Main, Eugene Palette (the froggy-voice friar in Mark of Zorro), Spring Byington, and Louis Calhern make up the rest of the supporting cast.

While I enjoyed this film, it's not as well-crafted as some of his earlier work. Perhaps the "Lubitsch touch" had worn itself out, and perhaps the changing times had caught up to him. Considering that the war was going on at the time, the film does seem a bit out of place. Perhaps that accounts for the lack of depth in some of the performances.

I rarely bother to look up who the art director was in a film, but the visuals in this one were so striking, I had to know who was responsible. James Basevi was the art director (basically, the interior scenery) and was much used by Hollywood's leading directors of the time - Hitchcock and John Ford among them. The lobby of the waiting room for Hell was especially appealing in a 40's art deco way.

This was the final hit film Ernst Lubitsch ever produced. He made a few more films in the following years, inconsequential stuff compared to his earlier work, then passed away in 1947, during a period when Hollywood was turning to the stark reality of film noir.

By contemporary standards, this film is a bit light, but it's funny and touching in its sentimentality, and it's an enjoyable bit of entertainment from a bygone era.