Il maggiordomo

"Ruggles of Red Gap" is the kind of comedy film that is rarely made by Hollywood anymore: a film with the emphasis on characterization without the cheap and obvious jokes of today's films. The plot is a good one. The services of a third-generation English Butler (Charles Laughton) are won in a poker game to an American couple (a very funny Charlie Ruggles and Mary Boland) who reside in Red Gap, Washington. Ruggles' former employer, Lord Burnstead (a fine Roland Young) reluctantly gives him up to the couple but assures him that he will come back for him as soon as possible. Once in America, however, Ruggles gets a newfound sense of freedom and after being inadvertantly fired by the uncouth American couple, decides to open up his own restaurant with the help of a widow (Zasu Pitts) who he has much affection for. The movie was nominated for Best Picture and the performances are outstanding, particularly Charles Laughton as the butler/servant who sees freedoms and opportunities in America that he never would have had if he remained in England. The standout scene in the movie is when Laughton is in a local Red Gap bar and someone mentions Lincoln's Gettysburg Address. When no one in the bar can seem to remember what Lincoln said, Laughton (the Englishman)recites the speech in its entirety with enough emotion and dramatic flair to bring tears to one's eyes. The underlying theme of the movie is basically about Anglo American relations and the common ground and friendship between both nations. This is a "must see" for anyone still interested in how great Hollywood was in its heyday, and particularly how wonderful and original the comedies were in that early and Golden Age of film-making.

Marmaduke Ruggles travels to Red Gap, Washington (circa 1908) after the Floud family wins him in a poker game. Ruggles, afraid he will not adjust to wild western life, has his fears come true. When he arrives in town, the citizens think he is a retired British Army officer, and Ruggles has to go on pretending to be something he is not. Originally believing that all he can ever be is a valet, he gets the idea of opening the town's first restaurant with the help of the widow Judson. However, the return of Ruggles' former employer (the Earl of Burnstead) may make Ruggles think of going back into servitude, making think of what Lincoln said is true about all men being equal. While what I wrote seems to play like a drama, don't be fooled it is quite a witty comedy with Laughton giving one of his most best (and surprisingly) best performances actually doing much of it with facial expressions & body language. Everyone else in the cast gives great stereotypical acting jobs, and the script gives plenty of chances for everyone, especially thanks to McCarey's lively direction. Best scene is obviously Ruggles reciting the Gettysburg address in the saloon, another driving point in the film's theme of all men being created equal. Rating, 9.

Director Leo McCarey, in his heyday a famous director and rival of Frank Capra's, and now largely forgotten, made one of his best films, Ruggles Of Red Gap, adapted from Harry Leon Wilson's novel, in 1935. It tells the story of a meek English butler named Ruggles, who is "lost" in a poker game by his boss, an English earl. Living out west, in Washington state, he is gradually assimilated into American life, makes himself somewhat of a local celebrity, and falls in love along the way. That's about all there is to the story, and it's more than enough in director McCarey's capable hands.

As Ruggles, Charles Laughton is more restrained than he's ever been, and gives a fine comedic performance of rare delicacy. There's none of the usual hamming one expects of him. As his new "bosses", Egbert and Effie Floud, Charlie Ruggles and Mary Boland are wonderful as middle-aged denizens of the Pacific northwest. As Ruggles' girl, Prunella, Zasu Pitts is at her dithering best; while Roland Young is sly and stylish as the earl. The actors interact with exquisite timing, with no one missing a beat, as was nearly always the case with McCarey, who had a rare feeling for the way people actually behave,--as opposed to the way movie people do--which makes his films, when good, a special treat.

This movie is a classic, if a quiet one, and used to be far better known than it is today, which is a pity. Capra's films are shown all the time, while McCarey', aside from his two "Catholic" films of the mid-forties, Going My Way and Bells Of St. Mary's, tend by be neglected. There are no "big scenes" in this one, but an awful lot of brilliant little ones, as when Roland Young learns how to play the drums; or when Charle Laughton recites the Gettysburg Address, the latter the high point of the film, and its most famous moment. One can't help but think, after seeing this movie, that all's right with the world. It isn't, of course, and never has been, but it's awfully nice to feel that way without having to resort to drugs or alcohol. For that one can think Mr. McCarey.

Charles Laughton was an incomparable actor (did anyone else ever go over the top as much as he did, yet still give brilliant performances?), and he's at the peak of his form in this classic. Laughton is just right as the staid butler who is won in a poker game by a couple from the Old West, circa 1908. Everyone is excellent--Mary Boland and Charlie Ruggles were one of the more popular screen couples of the day, and you'll see why--but it is Laughton who steals the film. His recitation of the Gettysburg Address is a demonstration of his mastery. It should fall flat, but it plays beautifully. See it.

It's my favorite movie. I love it beyond all reason. I have it on VHS (need DVD NOW!) as well as a still reproduction of Charles Laughton in the title role. I named one of my cats Ruggles. In other words, my recommendation is high! That said, I don't want to oversell it. While it contains some admirable themes about throwing off tradition and becoming your own person, it's above all a charming character comedy distinguished by Leo McCarey's signature style of improvisatory naturalism (particularly in comparison to the usual run of mainstream fare). Jean Renoir's famous quote about McCarey being one of the few directors who understood human beings (or words to that effect) is made clear here.

While there's plenty of broad humor, my favorite scenes involve smaller, character-centered moments, such as the sly little courtship scene in which a piano-playing Leila Hyams coaches a smitten Roland Young as he attempts to accompany her on drums.

It's full of colorful characters, priceless dialogue and emotionally involving story arcs. Seek it out -- if you like it one-tenth as much as I do, you'll consider your time well spent.