On Approval

This is a send up about British society people set in the 1890's that not only keeps your interest but gets progressively funnier with time. Beatrice Lillie plays Maria and Googie Withers plays Helen, with Maria deciding to go for a trial marriage for a month's holiday in Scotland with Richard. George, a Duke, tags along and through a series of planned misadventures, all four of them end up in the same castle on an island they have to row to to reach. This film must have been a breath of fresh air in 1943, as the war was still going on. Sixty five years later, it is still fresh. I had a great time watching it, it is a well made farce, and the acting is terrific. If you like British comedy at all, this is absolutely essential.

This film of Frederick Lonsdale's play is one of my favorite movies of all time. Not because it breaks new artistic ground--it's simply as close to being perfectly cast and perfectly executed as one can imagine. It's Bea Lillie's most important work on film (and as far as I can tell, except for "Thoroughly Modern Millie", the only thing of hers available on home video....will someone PLEASE bring out "Doctor Rhythm"?), and it really does give us a sense of why she was so famous in her day. The amazing Clive Brook is her perfect foil, and Googie Withers is beautiful and utterly charming.

"On Approval" is full of small pleasures that, because of their perfection, are unforgettable. Who can forget Bea Lillie's perfect delivery of "You will find the dinghy by the jetty."? The bickering of Lillie and Brook ("Maria, I don't want to speak to you, but I must." "I don't want to speak to you and I won't!") .....Googie Withers refusing a proposal of marriage by asking the color of her eyes.....Bea Lillie doing vocal exercises at the piano....I could go on endlessly. It's exquisite fun.

in this 1944 film version of the Frederick Lonsdale play. Charming, caustic, biting, and very funny, On Approval centers on 4 people who end up together in a house in Scotland for a month to see if they are "suited" for marriage. Of course no one gets along, the servants leave instantly, and the weather is dreadful. Lillie made only a handful of films; what a pity. She's quite wonderful as the rich woman who disdains marriage. Clive Brook (best remembered for Cavalcade) is excellent as the Duke (son of a butcher's daughter) who assumes the airs of aristocracy without having money. Roland Culver and Googie Withers round out the bickering foursome. Surprisingly fresh and current. I'd seen the 1982 BBC play with Penelope Keith and remembered it fondly. This is different but equal. Lonsdale seemed at one time a copy of Wilde or even Coward. But he has a special way with words that makes for delightful dialogue. On Approval is worth looking for!

The most English of all English comedies and something of a tour-de-force, particularly for Clive Brook who produced, directed and adapted Frederick Lonsdale's play as well as taking the lead as a penniless Duke in love with an American heiress. She's Googie Withers but she doesn't love him back. They end up as chaperons, he to Roland Culver and she to Beatrice Lillie, on a Scottish island where Lillie has brought Culver for a month 'on approval' to see if she likes him enough to marry him. All four are superb but Lillie, in one of her few major film roles, walks off with the movie as the obnoxious Maria, though in the acting stakes Brook does give her a run for her money. The film is seldom revived, however; could it be just too sophisticated for mass consumption?

"On Approval" is a comedy of manners and it delivers on its promise to delight. The dialogue is the thing--filled with insinuations, clever slights, and unabashed insults. The four leads make the most of the plot, which is about two men trying to marry into wealthier circumstances via two sisters.

One reviewer said this film is not up to Oscar Wilde's standards. Well maybe it is too tame to be Wilde, but it is still charming and filled with plenty of caustic throw-away lines and honest insights.

I think I will have to see it more than once to fully appreciate the film because of the sheer volume of memorable lines. That's a prospect I can bear to suffer.