L'impareggiabile Godfrey

When a down in the dumps upper cruster (Powell) licking his wounds over a dead romance in a shanty town address, gets pulled into a blue blood scavenger hunt on pretext of charity, he will drain a pint of their precious pride at a gala that seems more bazaar than fundraiser (goats monkey), but then accepts a job to "butle" for his sponsor's (Lombard's) zany family of fellow swells (See; Merrily We Live) (38).

A delightful tale on strong acts from familiar faces of the 30s with a pretty fantastic ending, but that's what they liked back then and we could use more of today. If Thin Man leaves you craving calories, you'll satisfy on seeing a mostly sober William (the perpetually soused Nick Charles and his dutiful dame, Nora, never struck a chord with this critic), hearing Jean Dixon's wit & wisdom that would turn world class wisenheimer Thelma Ritter green with envy, and then guzzle the haughty glow of Gail Patrick who'd go on to produce the iconic Perry Mason. And Carole, the ex-Mrs Powell (31-33), she should not've been happy playing darling but ditzy Irene, a role like too many this terribly talented actress was made to suffer, stuck in the silly (tar pits of pre-war cinema), though, oddly bringing the blonde an Oscar nom, one of its six (3.5/4).

This screwball comedy is centred around a homeless man who becomes the butler for a well-to-do but eccentric family and has to contend with two very different types of attention from its young adult members. With an undercurrent of social commentary and a generally wholesome vibe, 'My Man Godfrey (1936)' provides plenty of laughs and a good amount of heart as it jaunts along to its somewhat abrupt end. Some of its set-pieces are almost bonkers, with bizarre behaviour and flustered dialogue blending for a chuckle-worthy effect. It's a genuinely funny film on more than one occasion and it makes you care about its characters, too. Each of its core players are well-written and well-performed, as lively and distinct as possible. The plot is pacy and, ultimately, satisfying, making for a remarkably rounded experience overall. It's an entertaining affair right from its fantastic opening titles. 8/10

My Man Godfrey is a classic ensemble film with Carole Lombard and William Powell at the helm. The comedic timing is nearly perfect and the script is a winner. Character actors Eugene Palette and Mischa Auer absolutely shine. Lombard defined screwball with her on and off screen antics. Her portrayal of the rich and flighty (yet ultimately wise) Irene Bullock is one of her best performances. Powell's Godfrey matches her step for step, and Powell does one better by showing us depth in his character rather than play straight man to her every madcap move.

The movie is fast-paced and defines the word zany. What is worth noting though is that in many ways it is a commentary of the times by comparing the 'haves' and 'have nots'. I would encourage everyone to watch with more than a comedic eye. Through Godfrey, director Gregory La Cava's film speaks volumes about the conditions of the 1930s. The U.S. was plunged in a depression that forced thousands to the breadlines. The film opens with a treasure hunt and one of the items to find is a forgotten man. The rich set out to the city dump to locate him with no regard for his plight or his dignity. The man they bring back as the prize is Godfrey, who soon is employed by the Bullock family as their butler. Powell and Gail Patrick as Irene's snooty sister, Cornelia, are the antithesis of each other and some of the best social barbs are exchanged between them. Keeping their esteemed place in society is paramount to the Bullock family, and only the father (Pallette) ever seems to worry about money. However, La Cava does not allow the film to wallow in pity for those less fortunate. The film amuses throughout but it is a real art to weave social commentary into a comedy without banging you over the head. La Cava pulls it off beautifully.

La Cava, Lombard, Powell, Auer, and Alice Brady all deservedly earned Academy Award nominations. This movie will make you laugh and it should. It is very, very funny. It should also make you think. I suspect if you do both, Mr. La Cava and his wonderful cast will have done their jobs.

Am a huge fan of classic film and screwball comedy is one of my favourite comedy film styles. Seeing as it is more often than not very funny and clever (unlike the very crude humour seen nowadays) and has been done so well in many 30s and 40s films (such as 'It Happened One Night', 'Arsenic and Old Lace' and 'His Girl Friday'). Gregory LaCava's filmography was not a big one but it was worth watching, with his best being absolute classics ('Stage Door' being in this category).

Had absolutely no doubt whatsoever that 'My Man Godfrey' would be a great film with its pedigree of talent (as it also has a wonderful cast on paper), and was thankfully proven right. Actually thought it was excellent, with its best aspects (the performances and writing) masterclass level. 'My Man Godfrey' got a lot of awards attention and no wonder. It is one of LaCava's best films by quite some way and when it comes to screwball comedy, for me it is definitely up there.

My only issue really is the more farcical character behaviours do strain credulity, especially with the rather unrepentent character played by Carole Lombard.

Other than that, the film is excellent. William Powell brings his usual debonair suavity and sharp, sophisticated wit that made him so much loved, as well as deeply felt depth. Lombard's character may be unlikeable, but Lombard was always a joy in screwball comedy and she here shows genuine exuberance and hilarity, as well as charm. Gail Patrick portrays a character that is easy to hate effortlessly, and a wonderfully featherbrained Alice Brady and posturing Mischa Auer delight too. It is shame that Jean Dixon is so overlooked when talking about 'My Man Godfrey', because she really does sparkle in the wisecracking.

The script also plays a massive part in the film's appeal. It is razor sharp in wit, is wonderfully sophisticated and achieves a perfect balance of hilarious comedy, rapid fire is a good way to describe the delivery, and poignant pathos, a screwball comedy with a heart if you will. The story always compels, it didn't feel cluttered, over-stuffed or confusing, all of them having the impact they should.

LaCava keeps all the elements going at a lively pace without being out of control, while letting the serious elements breathe without losing momentum. Beautifully filmed and designed 'My Man Godfrey' is too, not "grand" but amateurish it never is.

Concluding, truly excellent. 9/10.

The great depression of the 30s, in a way, created inequality in this country. On the one hand, great fortunes were made and many more were lost. In those days Hollywood's idea for escapism was the screwball comedy, with an emphasis in presenting how the privileged classes lived. This was in sharp contrast with what the majority of regular citizens were experiencing.

With that background, Gregory La Cava, a man who knew how to entertain an audience, took the direction of "My Man Godfrey". In the film we are given, on the one hand, what appears to be a city dump near to Sutton Place, one of the richest areas in Manhattan. We are shown a destitute man, Godfrey, who comes in contact with a couple of rich girls out on a scavenger hunt. Godfrey will change their lives forever.

"My Man Godfrey" gathered a distinguished cast. William Powell and Carole Lombard were at the pinnacle of their popularity. Both actors exuded charisma in any film they graced with their charming presence. They both left a mark of distinction in this comedy. Both are elegant and sophisticated, and they make us care about the characters they are playing.

The best thing about those 30s comedies were the marvelous ensemble casts assembled to support the stars. Thus, one is treated to delicious performances by Gail Patrick, Eugene Palette, Alice Brady, Micha Auer, Jean Dixon and Alan Mowbray.

This is a classic film that will live forever.