Mon homme Godfrey

Whether we live in the Depression Era or the age of Occupy Wall Street and the Panama Papers, there remains great suspicion of and derision for those conspicuous faces of the upper classes, and few films capture and satirize this better than My Man Godfrey. It begins, as largely it ends, with strong associations- the dump by the waterfront is cluttered and grimy, filled with cynical but tenacious men, while the ballrooms and mansions of the rich are scenes of incredible chaos. Debauched and manic, these petty denizens amuse themselves with idiotic games, notably a scavenger hunt that calls for a "forgotten man," or rather a citizen of the aforementioned dump. This turns out to be our man Godfrey, played by William Powell with masterfully dry humor and proletarian dignity. His counterpart and perfect opposite is Carole Lombard as Irene, who manages her depiction of extreme ditziness and delusion with convincing charm. Godfrey's attempts to pull himself up from the dump lead him into the circus of Irene's family life, and the film is at its best in scenes where he is forced to navigate through their various inanities. It's difficult to choose any particular moment in this company over another, but wouldn't we all like to watch a pretentious Italian artiste imitating a gorilla? It might be nearly impossible for a major Hollywood comedy to be created today that could balance sympathy for the poor with criticism of the rich without coming across as insincere or blandishing, and Godfrey sometimes seems dangerously close to doing the same, but overall the film remains strong in its message, characterizations, and acting, making it one of the most lovable examples of screwball comedy.

Am a huge fan of classic film and screwball comedy is one of my favourite comedy film styles. Seeing as it is more often than not very funny and clever (unlike the very crude humour seen nowadays) and has been done so well in many 30s and 40s films (such as 'It Happened One Night', 'Arsenic and Old Lace' and 'His Girl Friday'). Gregory LaCava's filmography was not a big one but it was worth watching, with his best being absolute classics ('Stage Door' being in this category).

Had absolutely no doubt whatsoever that 'My Man Godfrey' would be a great film with its pedigree of talent (as it also has a wonderful cast on paper), and was thankfully proven right. Actually thought it was excellent, with its best aspects (the performances and writing) masterclass level. 'My Man Godfrey' got a lot of awards attention and no wonder. It is one of LaCava's best films by quite some way and when it comes to screwball comedy, for me it is definitely up there.

My only issue really is the more farcical character behaviours do strain credulity, especially with the rather unrepentent character played by Carole Lombard.

Other than that, the film is excellent. William Powell brings his usual debonair suavity and sharp, sophisticated wit that made him so much loved, as well as deeply felt depth. Lombard's character may be unlikeable, but Lombard was always a joy in screwball comedy and she here shows genuine exuberance and hilarity, as well as charm. Gail Patrick portrays a character that is easy to hate effortlessly, and a wonderfully featherbrained Alice Brady and posturing Mischa Auer delight too. It is shame that Jean Dixon is so overlooked when talking about 'My Man Godfrey', because she really does sparkle in the wisecracking.

The script also plays a massive part in the film's appeal. It is razor sharp in wit, is wonderfully sophisticated and achieves a perfect balance of hilarious comedy, rapid fire is a good way to describe the delivery, and poignant pathos, a screwball comedy with a heart if you will. The story always compels, it didn't feel cluttered, over-stuffed or confusing, all of them having the impact they should.

LaCava keeps all the elements going at a lively pace without being out of control, while letting the serious elements breathe without losing momentum. Beautifully filmed and designed 'My Man Godfrey' is too, not "grand" but amateurish it never is.

Concluding, truly excellent. 9/10.

This screwball comedy is centred around a homeless man who becomes the butler for a well-to-do but eccentric family and has to contend with two very different types of attention from its young adult members. With an undercurrent of social commentary and a generally wholesome vibe, 'My Man Godfrey (1936)' provides plenty of laughs and a good amount of heart as it jaunts along to its somewhat abrupt end. Some of its set-pieces are almost bonkers, with bizarre behaviour and flustered dialogue blending for a chuckle-worthy effect. It's a genuinely funny film on more than one occasion and it makes you care about its characters, too. Each of its core players are well-written and well-performed, as lively and distinct as possible. The plot is pacy and, ultimately, satisfying, making for a remarkably rounded experience overall. It's an entertaining affair right from its fantastic opening titles. 8/10

My Man Godfrey is a classic ensemble film with Carole Lombard and William Powell at the helm. The comedic timing is nearly perfect and the script is a winner. Character actors Eugene Palette and Mischa Auer absolutely shine. Lombard defined screwball with her on and off screen antics. Her portrayal of the rich and flighty (yet ultimately wise) Irene Bullock is one of her best performances. Powell's Godfrey matches her step for step, and Powell does one better by showing us depth in his character rather than play straight man to her every madcap move.

The movie is fast-paced and defines the word zany. What is worth noting though is that in many ways it is a commentary of the times by comparing the 'haves' and 'have nots'. I would encourage everyone to watch with more than a comedic eye. Through Godfrey, director Gregory La Cava's film speaks volumes about the conditions of the 1930s. The U.S. was plunged in a depression that forced thousands to the breadlines. The film opens with a treasure hunt and one of the items to find is a forgotten man. The rich set out to the city dump to locate him with no regard for his plight or his dignity. The man they bring back as the prize is Godfrey, who soon is employed by the Bullock family as their butler. Powell and Gail Patrick as Irene's snooty sister, Cornelia, are the antithesis of each other and some of the best social barbs are exchanged between them. Keeping their esteemed place in society is paramount to the Bullock family, and only the father (Pallette) ever seems to worry about money. However, La Cava does not allow the film to wallow in pity for those less fortunate. The film amuses throughout but it is a real art to weave social commentary into a comedy without banging you over the head. La Cava pulls it off beautifully.

La Cava, Lombard, Powell, Auer, and Alice Brady all deservedly earned Academy Award nominations. This movie will make you laugh and it should. It is very, very funny. It should also make you think. I suspect if you do both, Mr. La Cava and his wonderful cast will have done their jobs.

When a down in the dumps upper cruster (Powell) licking his wounds over a dead romance in a shanty town address, gets pulled into a blue blood scavenger hunt on pretext of charity, he will drain a pint of their precious pride at a gala that seems more bazaar than fundraiser (goats monkey), but then accepts a job to "butle" for his sponsor's (Lombard's) zany family of fellow swells (See; Merrily We Live) (38).

A delightful tale on strong acts from familiar faces of the 30s with a pretty fantastic ending, but that's what they liked back then and we could use more of today. If Thin Man leaves you craving calories, you'll satisfy on seeing a mostly sober William (the perpetually soused Nick Charles and his dutiful dame, Nora, never struck a chord with this critic), hearing Jean Dixon's wit & wisdom that would turn world class wisenheimer Thelma Ritter green with envy, and then guzzle the haughty glow of Gail Patrick who'd go on to produce the iconic Perry Mason. And Carole, the ex-Mrs Powell (31-33), she should not've been happy playing darling but ditzy Irene, a role like too many this terribly talented actress was made to suffer, stuck in the silly (tar pits of pre-war cinema), though, oddly bringing the blonde an Oscar nom, one of its six (3.5/4).