O Diabo Disse Não

Ernst Lubitsch was a man destined to take the play in which this film is based to the screen. The results are amazing. This 1943 movie continues to charm audiences after all these years. Credit must go to the great Lubitsch who shows his light touch on this delightful comedy.

Since the film is based on the play "Birthday", by Leslie Bush-Fedeke, the main idea behind the action is to present us Henry Van Cleve as he ages. The film opens as Henry is descending a long flight of stairs. He is an old man now. Henry meets an elegant man at the desk who will decide whether he will go down to hell, or to heaven. The story then goes back in flashbacks to show us what this Henry was really like while he lived.

Henry Van Cleve is part of a wealthy family from New York. When the film opens Henry is celebrating his 10th birthday. This involves being introduced to a French governess who will transform the boy for life. Then we see Henry as he is going to celebrate his 25th birthday. This is a most important date for him because he meets and falls in love with the lovely Martha Strabel, a beauty from Kansas, that is his idiotic cousin's fiancée. Needless to say, the handsome Henry falls in love with her and they elope.

Life has a way to get in the way of Henry as we see how he is handed tragedy when he loses his lovely Martha when she becomes sick. Ultimately, Henry himself, a mere mortal, dies after a long life that has been spent alone, living dedicated to his own son.

"Heaven can Wait" is a lovely film. Much credit has to go to its stars, Don Ameche and Gene Tierney, who make an excellent couple. They were at the top of their careers and guided by Mr. Lubitsch, their romance, while sweet, it's not sugary. Ms. Tierney's beauty adorns this film and Mr. Ameche is seen at his suavest self.

The supporting cast was a director's dream come true: Charles Coburn, Marjorie Main, Eugene Palette, Spring Byington, Louis Calhern, Laird Cregar, among others, give the film the elegance that Mr. Lubitsch used so well to enhance the movie.

A classic that will live forever!

Possibly my first true screwball comedy, definitely my first Ernst Lubitsch film, Heaven Can Wait lived up to the reputation of being a well made, laughter filled time. Sure it is a bit dated at times, but overall I believe the message and events occurring transcend age, probably due in small part to the fact that the film spans eighty or so years. Henry Van Cleve has passed away and knowing that he would probably have too much trouble getting into heaven, he decides to go to the place many have told him to go during life…hell.

I really enjoyed the rapport between Don Ameche (Van Cleve) and Laird Cregar (His Excellency/Satan). Cregar has a lot of charisma and is a nice change of pace from most guardians of the underworld. He has a strict code of rules, not just anyone can receive eternal damnation; one has to have earned it in spades. The fact that Ameche is trying to get in quickly, so as not to have to worry, is great, especially since he has to prove why. Of course as many stories of this ilk show, it's the women of his life that he must speak of to explain why he has sinned. It's a shame that there weren't any intercuts showing the two of them in Hell sitting and discussing Henry's life. The bookends to the film are nice, but it almost seems a shame to have seen Cregar so little.

Based on a play, Heaven Can Wait stands up well as a film. It is very much a dialogue driven movie, yet there are some great visual moments included as well. The script is great, sprinkled with dry sarcasm along with some laugh-out-loud moments and some surreal absurdities. Don Ameche is very effective as the Casanova who can't help himself even when he has the woman of his dreams. That woman, played by Gene Tierney, shows great comic timing to play off of the manipulative Ameche. She is a beautiful actress and can act very well. Tierney needs to play every emotion possible to show the ebbs and flows of their relationship while still retaining the love she has for her husband through all the tough times. Sure the whirlwind chance meeting which leads to their eloping is hilarious, and the rescue from Kansas plays out with almost a slapstick feel—especially between Tierney's character's parents and their funny papers—however, the real shining moment is their final dance together. Their love is displayed for all to see as they twirl in solitude while the rest of the party is seen through the opening between rooms. The moment is both beautiful and heartbreaking all at once.

I must say I was a big fan of the film and will seek out more Lubitsch in the future. Trouble in Paradise, available on Criterion DVD along with this film, and probably his most recognized work, Ninotchka with Greta Garbo, tops the list to check out. A great script, talented ensemble cast (look for comic genius from Charles Coburn and his baseball bat in heaven) as discussed, and superb make-up work (Don Ameche as eighty actually looks like he did at eighty, see Cocoon and a more cynical take on his character here in Trading Places) are molded deftly together to create a nostalgic look on life and those that one touches during his time on earth.

Do NOT confuse this comedic gem with Warren Beatty's 1977 film of the same name -- that was actually a remake of a different 40's classic, "Here Comes Mr. Jordan." But, this is much better, and even more imaginative. Ameche is brilliant, versatile, and amazingly handsome as the protagonist. Laird Creagar is excellent as Lord Satan, and Allyn Joslyn and Eugene Palette head a great supporting cast. One of the wittiest comedies ever made. Don't miss it.

Ernst Lubitsch, the great European director who immigrated to America and changed movies for the better shows his true light touch in this very original yet very charming story about one man's life and the changes and problems he faces. Don Ameche is perfect as the lead character, Henry Van Cleeves, a man spoiled rotten as a child but grows up and learns many things, mostly from his beautiful wife Martha, played by Gene Tiereny. However, the best role goes to Charles Coburn who plays the rough, frank, outspoken yet lovable grandfather who sympathizes with Henry and strives to make his life better.

The kind of material here could have been used to make an epic story on the level of films like Gone With the Wind or Giant. Nevertheless, we see Henry's life in full motion, always moving ahead even when he is helpless to stop it. And Lubitsch's touch has never been more prominent, taking some scenes any other director would have made disturbing or unsettling and giving them a witty and comical feeling. It's a shame Lubitsch died so early or else we could have gotten more of these classic and moving stories.

A tale of a charming rogue directed by Ernst Lubitsch--but the great expectations aroused by that description are let down by casting (the un-roguish Don Ameche) and the demands of the period. In the Twenties and Thirties, Lubitsch directed some of the most exquisitely naughty movies ever made, full of Continental charm, in which the women are as clever and independent as the men. But this kind of material didn't suit the setting here, of Victorian America, or the stricter morals necessary after the adoption of the Production Code in 1934. Much of the wit is blunted, and its intrinsic cruelty is softened or denied. Gene Tierney winks so often at her husband's adultery it's a wonder she isn't cross-eyed. While earlier audiences could laugh and take this film at its own valuation, it is now difficult not to squirm at her humiliation--or wonder if her finding him endearing isn't a cover-up for her real motivation, his wealth and social position.

Another reviewer thinks the movie might have been improved by showing the husband's affairs rather than just alluding to them--they are very deliberately not shown because they would add an unwelcome note of reality. How sympathetic would the audience be after seeing Ameche kissing and fondling another woman, assuring her that he loves her, and that he doesn't care for his wife?

Despite all this, and despite the rather leaden pace, I emphatically recommend this movie. While it does not compare well with Lubitsch's earlier films, it is way above nearly every movie of today. There are plenty of neat jokes, in the art direction as well as the script, a deliciously sour performance from Charles Coburn as the story's one outspoken cynic, and an enchanting one from Signe Hasso as the ooh-la-la French maid. Pretending deep sympathy with the young man of the house, resentful at being kept in knickerbockers when he has the soul of an adult, she coos, with an irony he does not hear, "I understand--your soul is bigger than your pants." Which, in a way, sums up the movie.