Mon homme Godfrey

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.

Irony. splendid performances. social critic. and a fairy tale. a film about people, perspectives, using a noble message and the right cast. and a brilliant script. in fact, a parable about selfishness and superficiality. special for the bitter humor and the impecable dialogues. and, sure, for the portrait of a familiar world, maybe too obvious but enough for succes to large public. the great virtue - maybe the performance of Will Powell and the adorable sweetness of Carole Lombard in two roles who are not real unique in the context of the cinema of period but who works in beautiful manner. and, maybe, that is the key for the seductive force of this old movie about money, family, society and ...love.

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).

Yes, Virginia, William Powell CAN be someone other than the Thin Man, and he can kiss someone Myrna Loy. In this case, he is kissing Carole Lombard, who does a very nice job as Powell's romantic interest. This is a fun movie from beginning to end, and the best role that Powell ever had (from an artistic viewpoint). Lombard was multitalented and could play any role. She very good as the rich playgirl who befriends the bum by the river, Godfrey. Great stuff.