Uma Sombra que Passa

"Death Takes a Holiday" was based on a play, and it's interesting that another playwright was called upon to adapt it for the screen. The original piece by Alberto Casella feels almost Pirandellian, in that it elevates every day things into a philosophical realm. Maxwell Anderson's respect for the original text shows in his elegant treatment of the material. The film is greatly enhanced by Mitchell Leisen's direction.

The people behind this 1934 film gathered an interesting cast to play Mr. Casella's characters. The idea of making death a human being was a novel idea. When the Grim Reaper becomes real in the person of Prince Sirki, it opened the possibilities for how he looked at life from this new perspective.

The idea of bringing Prince Sirki into the Duke Lambert's palatial home was the right setting, for it gives the movie an elegance that only in that context could be achieved. It's clear that Prince Sirki falls for the beautiful Grazia instantly. Grazia is almost engaged to Corrado, the Duke's son.

It's a joy to see these aristocrats at play when they encounter the figure of the prince. Only the Duke knows about him and is always by the prince's side in order to help him grasp the earthly nuances that supposedly, Sirki knows nothing about.

The ensemble performances Mr. Leisen achieved from his cast shows on the finished product we see. Fredric March makes an elegant presence as Sirki. The beautiful Evelyn Venable is perfect as Grazia. Guy Standing makes the most of his Duke Lambert. Henry Travers, Kent Taylor, Gail Patrick and Katherine Alexancer are seen in minor parts.

How can anyone compare this elegant production with the recent remake of this film? It is a puzzle to this observer, at best.

A tuckered out Death (Fredric March) decides to take some time off and allow life spring eternal over a three day vacation. Taking the identity of a recently expired prince he shacks up with a group of upper crust at an Italian Villa amusing and edifying himself while mystifying and fascinating others. The prince quickly charms the ladies while intimidating them at the same time. One, Grazia ( wonderfully performed by Evelyn Venable) falls completely under his unintentional spell however and contemplates seeing her existence through with him.

March flirts with going full Bela Lugosi in moments but charms and tones down enough to pose some interesting viewpoints and inquiries on this thing called life. Retaining his suave cold demeanor throughout he linchpins both the terror and humor of the film while director Mitchell Leisen tarts matters up with his usual lavish set design. And who could fault death for hanging with the conspicuous consumption crowd as opposed to the skid row consumptive crowd? A disturbingly entertaining film.

First of all, the director of this film, Mitchell Leisen is one of the most underrated talents of 30's and 40's. He's acquired something of a bad reputation because of pretty vicious remarks made about him by Preston Sturges and Billy Wilder when talking about the films he directed from their scripts in the days before they were allowed to direct their *own* scripts. However, he doesn't deserve the derision. He's made some fluff films, for sure, but he's a consistently entertaining filmmaker who, more often than not, really delivers.

Anyway, Death Takes a Holiday is sort of his "art film" and it has a lot of great things in it. Fredric March's performance as Death is wonderful, the atmosphere is thick, the humor works, the scene setting is smart and romantic, and the opening titles are fun and weird, immediately presenting the film as something that's going to be a little unusual.

The problem with the film lies in Fredric March's romance with Evelyn Venable. The idea of Death falling in love with a human is great, but it's just not convincing here, mostly due to Venabale turning in a wooden performance that almost suggests she might be hypnotized. Also, the dialogue between them, particularly in the closing scene, is melodramatic and pseudo poetic beyond belief. You almost want to laugh at it.

It's a shame this most important aspect of the movie was handled so badly because just about everything else in film is great, particularly the interaction between Fredric March and just about everyone else in film who isn't Evelyn Venable. All of the good stuff just bursts with intruiging ideas.

And for that I would recommend the film to all potential viewers. The film is not without it's problems, but the good stuff is just good enough for me to say that the proverbial glass is definitely half full.

I saw this film as a teenager and became an immediate Fredric March fan. I can't even imagine someone like Brad Pitt playing this haunting, romantic character. If you want to own this movie on DVD, though, the two-disc set of Meet Joe Black does contain a beautiful transfer of the original 1934 classic on the second disc in the set.

I have watched this movie many times over the years and I continue to love it, even more than the remake `Meet Joe Black' with Brad Pitt and Anthony Hopkins (On it's own a great movie with wonderful actors).

However, In this original movie, `Death Takes A Holiday' the title role is played by the incredibly talented Fredric March, as he portrays an intensely charismatic Death/Prince Sirki. Here you will find an innocent, charming stranger who is learning from his host and the guests surrounding him yet is also imparting his own knowledge and wisdom.

The path Death has taken is a journey in which all of us partake. What makes us human? What brings us joy and happiness in this lifetime? All that Death has ever seen of our world is fear as he greets those who enter his world. So, he enters our world to see and feel what more there is to our existence. In fact, we could learn a great deal from the character Death, for he reminds us of that which we take for granted in this life, and is denied to him as Death.

`Death Takes A Holiday' may seem dark and forbidding but it is filled with hope that is encouraging; and love which should follow us past this life and into the next.