Vita col padre

Life With Father, the story of an eccentric, excitable 1880s gentleman and his continually exasperating family is the perfect showcase for the under-appreciated talents of William Powell. Powell, best know for his work with Myrna Loy in the "Thin Man" series of films. Powell uses every second of this plum role to display his charming style and verbal acuity.

The story is simple: Powell and his wife, played by Irene Dunne, face a series of calamities, some serious and some ridiculous, mostly brought on by their four rambunctious, red-headed sons. After a visiting cousin brings along fifteen-year-old Elizabeth Taylor, events are put into motion which threaten to turn Powell's neatly-ordered world upside down.

The performances are uniformly fine, and Powell and Dunne are absolutely sterling. A supporting cast that includes Zasu Pitts, Edmund Gwenn and early appearances from Martin Milner and Elizabeth Taylor round out the picture quite well. If there is anything to detract from the complete enjoyment of the film, it is Taylor's performance, which can get grating, but hey, she's just a kid, and when you look at her, you can already see the amazing beauty still to come. The exceptional visual style of the film makes you long for the day when people rode in horse-carts to Delmonico's for dinner.

Watch for some classic dialogue between Powell and Dunne over the cost of a new coffee pot, between Powell and his son about "the facts of life where women are concerned," and the nonsensical wordplay over the return of a Porcelain Pug-Dog.

As an adult, Clarence Day Jr. (1874-1935) joined his well-known father on Wall Street--but developed a form of arthritis that left him a semi-invalid. Shortly before his death he published LIFE WITH FATHER, a humorous memoir of his Victorian childhood; sadly, he did not live to see its great success. A best seller, the novel was adapted to the stage in 1939 by Howard Lindsay and Russell Crouse. Warner Bro.s bought the film rights, agreeing to wait until the show finished its Broadway run; as it happened the studio had a long wait, for the play went on to become one of Broadway's longest running shows, playing almost eight years.

In acquiring the rights, Warner Bro.s also gave Clarence Day's widow and playwrights Lindsay and Crouse substantial power over the film version. Censorship issues of the day prevented an absolute translation of the script to the screen, but on the whole the script survived the transformation extremely well, and fueled by a host of flawless performances and remarkably fine production values LIFE WITH FATHER became as memorable on screen as it was on stage.

Clarence Day is an eccentric man, absolutely certain that he alone is correct in all decisions, and eternally running afoul of wife Vinnie's scatterbrained logic, his four sons, visiting relatives, and terrified servants. When a conversation reveals that he has never been baptized, Mr. Day laughs the matter off--but Vinnie is determined that he will be baptized whether he likes it or not. Comic battle-lines are drawn, and the result is a hilariously amusing portrait of Victorian manners and attitudes about everything from religion to the place of women in the world.

The performances are superlative. This would prove to be among the last great roles for both William Powell and Irene Dunne, who play Clarence and Vinnie Day, and to describe their work as flawless is actually an understatement: we completely believe in them from start to finish. The same is true of the cast in general, which includes a remarkably beautiful Elizabeth Taylor; legendary comic ZaSu Pitt; and even a very young Martin Milner. The costuming and sets also capture the look and feel of the era in remarkable fashion. The film is perfectly executed from start to finish.

But you might as well throw your money away than buy any of the releases presently available on VHS and DVD. There is not a one of them worth a dime: the color is atrocious, the sound is horrific, and the picture so blurry that the only thing you'll get for your money is a headache--and this has been true of every factory release I've seen to date.

It is a terrible shame that such a fine, indeed such a great film has been so incredibly neglected. Fortunately for all concerned, LIFE WITH FATHER continues to turn up on television fairly often. Until there is a restored release, don't buy a VHS or a DVD: tape it from television instead, for I can almost guarantee that the version you find there will be superior.

GFT, Amazon Reviewer

In his third and final Oscar nomination, William Powell was nominated for playing the bellowing and lovable 19th century domestic tyrant Clarence Day, Sr. in Life With Father. If he had to lose I'm sure Powell was glad it was to his very good friend in real life Ronald Colman for A Double Life. Still with that strange flaming red hair on top of his familiar features, Powell imprints his own personality on the leading role of the longest running play on Broadway up to that time.

Based on the recollections of Clarence Day, Jr. as played by Jimmy Lydon here, Life With Father ran for eight years on Broadway for 3447 performances. It was brought to the stage by Howard Lindsay and his two partners, writing partner Russell Crouse who adapted Day's work to the stage and life partner Dorothy Stickney who with her husband got their career roles on Broadway. The play ran from 1939 through 1947 taking America right through World War II. The time that it was written and presented to the public may account for its popularity as the public might just have wanted reassurance of American values at that critical point.

As Lindsay and Stickney had no kind of movie box office, Warner Brothers decided to acquire William Powell for the lead and cast Irene Dunne as the wise mother who has learned just the right way to handle her husband and inevitably get what she wants. Powell is a man who thinks when all else has failed, he can bellow his way through any situation. My favorite line in the play is when he tries to hire a maid and that title quote is when he's asked for references.

Warner paid a lot in loan outs for this film. Irene Dunne was not a contract employee of his studio and Elizabeth Taylor was also borrowed from MGM for the small, decorative part of a cousin that gets Jimmy Lydon and Martin Milner's hormones in an uproar. The part that Taylor plays was originated on Broadway by another future film star, Teresa Wright.

Incidentally Martin Milner reminisced many years later about the film and said of all the boys and of course Powell, he was the only natural redhead among the lot.

Edmund Gwenn fresh from an Oscar himself for Miracle on 34th Street plays the Episcopalian minister who is trying to get a large contribution from Powell for a new church. Their discussion is also a highlight of the play and the fact that Powell had never been baptized is also a subject of a lot of humor.

Father still had life well into the Fifties with a television series adapted from the play that starred Leon Ames as dear old dad.

The play, the film still have a lot of character in it.

Once again Michael Curtiz demonstrated his bewildering versatility by moving from black & white noirs to this nostalgic Technicolor whimsy whose success doubtless led a couple of years later to the superior 'Cheaper by the Dozen', in which the wife was appropriately played by Myrna Loy, for whom Irene Dunne here provides a most satisfactory substitute as Mrs William Powell.

Even more than Mr Gilbreth in the latter film the title character is really just a pompous boor whose supposed charm largely resides in the fact that he's played by Bill Powell; and it's a shame we don't see more of Heather Wilde as the short-lasting maid Annie who carries the first twenty minutes before quitting in tears, never to return.

I saw this film - once again on the indispensable American Movie Classics Channel - for the first time recently and it has quickly become one of my favorites. It perfectly captures the flavor of Clarence Day's books and draws us completely into the era and into this particular New York brownstone. This was my first viewing of William Powell in what was surely his quintessential role; his work is superb, as is the marvelous chemistry between him and Irene Dunne as his "dear Vinnie". The source of the movie was Clarence Day Jr's three books - "Life With Father", "Life with Mother", and "God and My Father" - which recollect his growing up in late 19th century New York in the well-to-do household of his irascible, catankerous, but ultimately loving father Clarence Sr. As the books are mere strung-together pastiches, it must have been a challenge to assemble them into a coherent whole with a story line. Howard Lindsay and Russel Crouse succeeded, in the play on which the film is based, and screenwriter Donald Ogden Stewart transferred it to celluloid very nicely. A wonderful character study, and a beautiful snapshot of life in late 19th century New York. Viewers who enjoy it are well-advised to find the books on which they are based (the library is your best bet; the books have gone out of print since their best-seller days long ago). At the conclusion, one hates to have the movie end; you want to spend just another day or two in the Day household.