La signora di mezzanotte

There are few films that can be seen often without the viewer tiring of them. Midnight is one of them. It glides effortlessly through the tinsel and magical world of barons and down-on-their heels showgirls without taking a mean shot at anyone. Claudette Colbert shows that she lost none of her "It Happened One Night" edginess, and Don Ameche gives the performance of his career as the romantic cab driver who sees himself as worthy to steal Colbert away from her rich suitor. John Barrymore may have been in decline at this point in his career-----but this is his last great effort at creating a truly endearing comic character. He does so splendidly. Mary Astor combines beauty and bitchiness in a memorable role. And what is there to say about Rex O'Malley as her gay pal in all this business? It is a shame that he is virtually unknown today, and didn't get many opportunities to show what a fine comic actor he was.

Midnight deserves a much wider audience than it now has. Billy Wilder and Charles Brackett have written wonderful comic dialog that continues to charm and amuse today's viewers. And it is without doubt Mitchell Leisen's masterpiece.

This is THE romantic comedy to see with someone you love.

Quite delightful. Surprised it's not better known. Has been called "The first great Brackett and Wilder screenplay." Fantastic costumes too. Billy Wilder was frustrated that the director was more interested in the style and look of the movie (which is stellar) than in his dialogue, which he had to fight from being cut. This is probably one of the first films that made him think about directing his own, so he could have more control. Really great comic performances from John Barrymore, Don Ameche, and Claudette Colbert.

Why this simply marvelous comedy is not hailed as a screwball classic standing shoulder to shoulder with "It Happened One Night," "The Awful Truth," and "My Man Godfrey," and just under "Bringing Up Baby," is utterly beyond me. Claudette Colbert sparkles in the role of an American golddigger in Paris, Don Ameche is a charming romantic lead, Mary Astor is a delightfully bitchy rival, and John Barrymore is spectacular in one of the funniest performances I have ever seen on celluloid. As others have stated, it is astonishing that he read his lines off cue cards. Anyway, everything in this film works perfectly together: the acting, the direction, the crackling writing, and the zany plot which I will not go into now, but which is absolutely ideal for a screwball. It is also refreshingly politically incorrect, and while feminists might flinch at one or two scenes, that should not prevent anyone from enjoying "Midnight," which is really one of the best comedies of all time. An enthusiastic and unequivocal 10/10.

Break out the night vision goggles, the pick-axe, and the compass to find this one if you haven't seen it. I caught it at the MOMA cinema in the old museum basement and laughed so hard I was in tears -- and so were the hundred+ people around me. Monty Woolley and Hedda Hopper are a stitch to watch -- but this is definitely Claudette Colbert and Don Ameche's movie. Colbert spends the first 15 minutes of the movie cold, wet, and hungry -- and Ameche (her knight in shining Taxicab) thoroughly enjoys her predicament. The volley of screwball slap-lines goes on for another hour before the shoe finally fits (as we knew it always would.) The best grins are from Ameche's smug insanity -- and a shaving mug fully loaded.

Best of all, the dazzling innocence of the comedy writing from Billy Wilder and Charles Brackett is so light and politically incorrect that you can almost smell "Some Like It Hot" on the distant horizon. There is no meanness or cynicism in MIDNIGHT. Just a good story, good laughs, and a cast full of people you want to meet again and again.

Claudette Colbert at her best, playing a down-on-her-luck singer in Paris who is mistaken for a member of Hungarian royalty; she goes along with the deception, but only to help wealthy John Barrymore out of his marital fix. Tightly-wound screwball farce written by Charles Brackett and Billy Wilder, from a story by Edwin Justus Mayer and Franz Schulz (with such a distinguished pedigree, the movie has to reach some high expectations--and does so joyfully). Directed in an efficient, brisk manner by Mitchell Leisen, with superb performances by the cast and pleasant, airy surroundings. Remade in 1945 as "Masquerade in Mexico". *** from ****