Ama-Seca por Acaso

This was one of the most popular movies of 1948, and is still sweetly amusing. What impresses me on this latest viewing is how well actor Webb and screenwriter Herbert carry off their trick. The challenge is to keep the audience from reaching through the screen to throttle the stuffy, know-it-all, Belvedere (Webb). In short, a dislikable Belvedere would ruin the movie. So how do you, on one hand, establish his needed superiority, and, on the other, not let it ruin the comedy. After all, it's his unusual character that distinguishes the story as a whole.

As I see it, Webb and the dialog handle the challenge by making Belvedere a strictly matter-of-fact character. He says he's a genius, because as a matter of fact, he is. Crucially, he's not bragging— that would make him dislikable. Instead, he asserts his superiority much like a scientist might impartially acknowledge a fact. He's not egotistical about his accomplishments; instead, he's kind of like an impartial observer of himself. This doesn't exactly make him likable, but it does save the movie's pivotal character from being dislikable, at least as I see it. And I think it's a credit to the screenplay that they don't soften his unsociable character to maybe please the audience. All in all, I think Belvedere is a rather daring role for a comedy of its time.

Of course, it helps to have two of the screen's more likable younger actors, Young and O'Hara, as co-stars with Webb. Plus, having a fuss-budget like Haydn (the gossipy Appleton) in the same film as fuss-budget Webb sets up certain delectable possibilities. Then too, setting events in the white-collar suburbs mirrored post-war changes going on with audiences that were also getting back to family life following years of hardship and sacrifice. So, to me, it's not surprising the movie was such a hit in its day. And happily, I think it's still pretty amusing.

Robert Young and Maureen O'Hara as Harry & Tacey King were the headliners in this film but a man named Lynn Belvedere (Clifton Webb) stole the show. It was perfectly logical that Mr. Belvedere would take control of the film, he is a genius. What one thing has Belvedere not done, write a book of course! But what type of book and where will the information be collected from? How about a little town of gossips that will make a satire of a town a masterpiece of writing? But how can a genius be among them and not be discovered? The King family have terrible children that no human can control. They need a maid and live-in babysitter, whom better than a person that understands children's psychology yet hates children. Mr. Belvedere soon is hired and has the whole family under his control. A man that has the children chew their food 28 times, not 20 or 24 but 28 times. A dog trainer that has the huge mountain of a dog controlled. A man that can tell the adults in the household just how childish they can behave. When the family almost breaks up can Mr. Belvedere save the family? This is a classic which will live on in movie history.

Clifton Webb became a major star for a while on account of this film, in which he plays an eccentric genius who comes to live in the house of a young couple as a kind of general purpose servant-maid-tutor-savant-philosopher-critic. There was no end, it seems, to what Mr. Belvedere could do, and do extremely well. Walter Lang directs this pleasant picture with much skill, if not inspiration, and as Webb's employers, Robert Young and Maureen O'Hara make an attractive couple.

Webb was a strange case. A huge star on the stage, his film career lasted less than twenty years. He was well into middle age when he started making movies, and at first he tended to play snobs and supercilious characters in general, starting with Laura, in 1944. Till Sitting Pretty came along he had appeared only in dramatic films, usually as a villain. Overnight, it seems, he was transformed, from upper class bad guy to loveable eccentric, and for a number of years he became a quite popular and unlikely star of often nostalgic films. Along with Charles Coburn, he was one of the last true Victorians of the movies, and as such a reminder of a more formal but also more individualistic time during in the postwar years. Sitting Pretty is an excellent showcase for Mr. Webb's unique brand of humor, as he managed to be superior and priggish but never mean-spirited.

Mr.Belvedere was the vehicle, by which, I "discovered" Clifton Webb. Played to perfection (Mr.Belvedere is the definition of perfection) by Webb, he has ruined the chance for anyone to improve, or even approach, his performance. (As, for example, the weak effort to duplicate Mr. Belvedere, on the TV sitcom of the same name. The TV show may even be reason someone might stay away from this movie. Don't make that mistake.) Clifton Webb IS the "show". I can't think of anyone who has the "confidence" to carry off being the know-it-all who can/did teach the experts. A great comedic performance, like this, is an extra special surprise when coming from such an unexpected source. The usually "starched", serious actor is hilarious. The 2 sequels, Mr.Belvedere Goes to College, and Mr.Belvedere Rings the Bell, are also very good. In fact, excellent as sequels go....

Suggested movies for Clifton Webb fans..."Laura"..."Stars and Stripes Forever..."Three Coins in the Fountain"...They span his long career, show you his range, and will most definitely entertain you..........

With Sitting Pretty, Clifton Webb created his most enduring film character, the aesthetic and acid tongue, self-styled genius, Mr. Lynn Belvedere. He enters the lives of the King family by answering an advertisement Maureen O'Hara puts in a paper about needing a live-in baby sitter.

Never assume folks, Maureen doesn't specify the gender of whom she seeks and with that first name of Mr. Belvedere she and husband Robert Young assume they've got themselves a female.

Belvedere moves in and he's quite the character. I'm not sure there's a subject or a field he's not well versed in and he's not above letting one know it. Thanks to a fussy busybody neighbor, Richard Haydn, Webb and O'Hara become the focal point of a lot of neighborhood gossip.

Clifton Webb never had any luck with his three Oscar nominations. In 1944 for Laura he lost to Barry Fitzgerald in Going My Way. In 1946 in The Razor's Edge he lost to Harold Russell in The Best Years of Our Lives. Those two were for Best Supporting Actor, but in 1948 he was nominated for Best Actor and this time lost to the greatest actor of his generation playing arguably the greatest acting role ever, Laurence Olivier as Hamlet.

Robert Young as O'Hara's husband is not generally commented on, but I've always had the sneaking suspicion that some astute casting directors saw Young in this film and decided he'd be perfect as THE television suburban all American father when it came time to casting Father Knows Best.

For some reason Maureen O'Hara gave this film a fast mention in her recent memoirs and didn't discuss it at all. I'm not sure why, she certainly did well enough in it.

Richard Haydn is also not commented on too much, mainly because he was playing a very typical Richard Haydn part. Clifton Webb of course was the cinema's closest thing for almost 20 years to an out gay actor and I'm sure Mr. Belvedere if done today would be more explicitly gay. So would that first meeting of Haydn and Webb where today it would be shown for exactly what it is, Haydn trying to pick up Webb and Webb turning the prospect down cold.

Almost sixty years later, Sitting Pretty has not lost a bit of its entertainment value. Clifton Webb's Mr. Belevedere is an enduring cinema legend. I only wish the two succeeding Belvedere films were shown. I've never seen either of them as of today and don't ever even recall them being broadcast.