Trois jours chez les vivants

Adapted by Walter Ferris, Maxwell Anderson and Gladys Lehman from Alberto Cassella's 1929 play La Morte in Vacanze, Death Takes a Holiday features Fredric March as the titular Grim Reaper. Death becomes curious about why he is so feared. He wants to understand humankind better. So through some unspecified means he becomes corporeal for a three-day period, beginning and ending at midnight. He chooses to take the form of a Prince Sirki, recently deceased, and takes his holiday at the palatial Italian villa of Duke Lambert (Guy Standing). Will he discover what makes humans tick in only three days? This is a highly successful, unusual film. It has strong touches of horror, even though it's more of an art-house drama cum romance flick. It's also frequently philosophical, and director Mitchell Leisen easily sustains dramatic tension for close to 90-minutes despite the fact that this was only his second feature, and a very "talky" one at that, which takes place primarily in a single setting (the play only had one set, but the film adds a couple other scenes).

Of course March's performance is crucial to making the film work. He has the difficult task of playing both a personification of a menacing supernatural force and a chimerical human trying to "act natural" and slightly failing. That March plays the role so impeccably is made all the more fascinating in light of the fact that he was filming All of Me (1934) at the same time. He borrowed a woman's bicycle (his wife Florence Elridge's) to enable him to quickly travel from one set to the other on the Paramount studio lot. March has said that Death/Prince Sirki was one of his favorite roles, and he willingly reprised it both on radio for Lux Radio Theater in March of 1937 and on stage, in a production by Baltimore City College in May of 1938.

As impressive as March is, he is initially upstaged by the fantastic special effects. We first see Death as simply a shadow. Later, March appears in more traditional Grim Reaper garb, which is eerily transparent and surprisingly modern in design. Leisen demanded that the transparency effect be achieved in-camera rather than a later manipulation during the film processing stage. So Gordon Jennings employed the same technique that made The Invisible Man (1933) invisible. Parts of the set were recreated in black velvet. These were reflected in a partially transparent mirror, which was then superimposed over March (you can see a related effect "live" in the ballroom scene of Walt Disney World's The Haunted Mansion ride). March's elaborate cloaks were composed of layers of chiffon in dark hues from gray to black. Jennings also installed tiny lights under March's "hood" to light up his skull make-up.

The rest of the cast is excellent, too, if maybe a bit too sprawling for the film's length. But there needs to be a larger number of characters, as a hinge of the film is that three different women fall in love with Prince Sirki during his brief visit, one of them eventually being discouraged by his bizarre behavior, the other by being able to see his "true self". Sirki ends up falling in love with Grazia (Evelyn Venable, in her second role after 1933's Cradle Song), who is supposedly the fiancée of Corrado (Kent Taylor), but with him, she is oddly aloof. Despite the romance between Death/Sirki and Grazia, March and Venable never kiss in the film, as Venable's father had a clause written into her contract forbidding it.

Leisen creates a thick, almost creepy atmosphere for much of the film (although it's strongest when Duke Lambert first encounters Death), which gives it much of its horror overtones. For me, the romance aspect has a slight (appropriate) morbidity because of this, and it's questionable whether the film should even be considered a romance. The set design is also fantastic--the villa is breathtaking; it's too bad Leisen couldn't show it off more.

The constant tension invoked by Death/Sirki always being on the brink of "blowing his cover" keeps the viewer on the edge of their seat more often than one might expect. But Death Takes a Holiday is most fascinating when it waxes philosophical. Because death is on holiday, numerous accidents occur that people just walk away from (this was an intriguing and logical aspect that was absent from the 1998 remake, Meet Joe Black). This makes the newspapers, and Death finds it particularly ironic that humans seem to almost lament that war is not working correctly. He promises to the unwitting that humankind will soon again be able to blow each other up. Baron Cesarea (Henry Travers, who also played Dr. Cranley in The Invisible Man) offers that there are three "games" in life--money, war and love, and Death/Sirki ends up agreeing. Love finally gives him the answer of why humankind fears him so, and finally shows why life is not futile or simply a frittering away of time while people wait for him to arrive in his natural guise. The ending of the film was quite controversial, and suggests that love can even surmount death; it almost seems to say that possessing love, death might not be such a bad thing after all.

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.

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.

This film has been remade several times but the original is the one to see. Frederic March is outstanding as Prince Sirki (Death) and is at the height of his matinee idol looks. Evelyn Venable is innocent and vulnerable as Grazia who loves Death in both of his forms. There is a bit of "humor" in the film that seems out of place. The acting is surprisingly good for an early film and the supporting players are solid. My favorite scene is when Death takes Grazia into the gazebo at the end of the film and places his cape around her. It is very romantic and is not the usual "cop out" that you might expect. This is an unusual film that is highly recommended.