User reviews

Emlyn Williams was a great writer (and actor) but he was not the happiest of Welshmen. This miserable story of his, adapted by the equally talented Nunnally Johnson is literally attractive to listen to but the oppressive dourness doesn't make it the most entertaining movie.

What keeps you engaged is two outstanding acting performances. Ida Lupino (as stunning as ever) is so completely real as the put-upon daughter inhabiting her self-made prison, you can't help but empathise with her wholeheartedly. The real star however is Monty Woolley as a once famous actor, now a forgotten victim of the demon drink. He's not your typical selfish, mentally damaged and debilitated drunk - he's bitter and twisted yes but one of those rare drunks who manages to retain a bitingly funny, acerbic wit. His marvellously clever dialogue is the only glimmer of light which raises a smile in this unhappy rather depressing story.

As a story about the damage alcohol dependency can cause, this is a little too light hearted and unrealistic. On the other hand, as an uplifting drama about how the human spirit can save you from the depths of despair, because it lacks the necessary depth, it's difficult to believe in. Still worth watching however just for Monty Woolley - he's so good in this.

As an actress, Ida Lupino doesn't do it for me. It's only because she had something to say as a director in the 50's and 60's that I've decided to observe her acting roles in the 40's. This film has no other entertainment value than for research purposes.

Maybe if celebrated actor "Madden" (Monty Woolley) hadn't fallen foul of the bottle, he might have stayed at the top of his game. He didn't, though, and so he has to share his small flat with daughter "Kathy" (Ida Lupino). She hasn't her problems to seek, either. She's lived with this man for all of her life and the consequent limitations, coupled with a gammy leg, are driving her to distraction. Fortunately, serendipity takes some interest in her happiness by bringing "Robert" (Cornel Wilde) to their building, and after a rather boozed-up introduction to her father, he starts to take some interest in the young woman. All they really need is for dad to get a job, then maybe they have a chance of romance and happiness. Perhaps the bard of Stratford-upon-Avon can help out, too? I think you either liked Woolley or you didn't - he certainly wasn't remotely versatile and only had the one characterisation to display. I did enjoy the embittered, sarcastic, personas at which he excelled and here we add loads of bourbon to further intoxicate the mix. Neither Wilde nor Lupino really have enough to get their teeth into, but there's still enough of the story for them to make their presence felt as we head to a conclusion that is pretty predictable, but quite enjoyably arrived at. Is the sun over the yard arm yet? Well it might be at eight-thirty!

Former stage actor Madden Thomas has been off the stage for eight years primarily due to his drinking habits. At the beginning of our film, he is fired from the seasonal job as a department store Santa for drinking on the job. Living w/ his daughter Kathy, Thomas is visited by playwright Robert Carter, who thinks he can build Thomas' career again by giving him a small part in a new play. Even though he still continues to drink, Madden is helped by Kathy, Robert, and Robert's aunt Alma (who was a former lover of Madden) to gain the confidence to stop drinking and take his life & career more seriously. Madden is given that chance when he is to play the title role in a production of King Lear, but when he discovers that Kathy & Robert are planning to wed and leave for Los Angeles, he gets plastered on the opening night, which drives Kathy to her patience limit (even blaming him for her lame leg). When this anger strains the marriage, it is up to Madden to make the right judgment concerning his life and those around him. This is an enjoyable piece of sentiment, while having its heart wrenching moments, it does leave a nice feeling at the end of the film. I think this is the best role Woolley ever had, and is finely supported by Lupino, Wilde, & Allgood. Pichel's direction, while it doesn't go overboard on the melodrama like many of his other films, is disjointed through most of the film since little is mentioned of the character's recent actions which impact certain scenes in the film. Rating, 8.

While his name isn't exactly famous today, Monty Woolley was one of the best supporting actors of his age (not B-movies...more like 'A Minus movies'). He also starred in some wonderful lower-budgeted films that are joys to watch today. Because of this, I have tried to see every one of his films. When I found "Life Begins at Eight Thirty" today, however, I was surprised. His films normally are light comedies or wonderful family films. He also did make a couple musicals...but I didn't think he made serious dramas--ones with a dark tone like this movie.

Woolley plays Madden Thomas--a well-respected and famous actor who decided long ago to abandon his stage career in favor of the bottle. Being a drunk has its advantages...stage fright certainly is no longer an issue and he doesn't have to deal with disappointments! He and his daughter, Kathy (Ida Lupino), live in a crappy apartment and scrape to make ends meet. However, a kind neighbor, Robert Carter (Cornell Wilde) remembers Madden--and he's determined not only to help him get work but to bring his daughter out of her shell. It seems that Kathy has a MINOR problem with a limp...and she sees it as a huge impediment. What's to come of this sad Thomas clan? And, what is the truth about Kathy's leg?

In many ways, Woolley plays pretty much the same sort of character he played in "The Man Who Came to Dinner"....but with a tragic and dark side that makes his funny rants and eccentric behavior anything but funny. It's a strange juxtaposition--but one that works well. The film in many ways, however, is more a Lupino film as she gets a very meaty role--a chance to show everyone that she has a lot more depth than her earlier films showed. She is, at times, the perfect enabler. I also really liked Wilde's character--he was blunt yet caring. He didn't put up with excuses and seemed like a swell guy.

There are many wonderful moments in this film. Each of the three main characters gets a chance to have a little speech, of sorts where they pour themselves out in front of the cameras--real chances to act! Additionally, the film handles addiction very well--very honestly and without quick and easy resolutions (like in "Lost Weekend" where serious alcoholism is seemingly solved at the end of the picture). Well worth seeing and a highly underrated and very entertaining film.

Should we be judging a 80 year old film with 21st century cynicism? Then why watch?

Yes, this film is a little bit trite, a little sentimental, but it won't kill you. Except for for some clever lines expertly delivered by Monty, the writing isn't exceptional. The cast is great and they make you care about the characters.

Sara Allgood is an absolute treasure.

Unlike Edmund Gwenn's portrayal of Kris Kringle on Macy's parade float, Monte Woolleys's Santa Claus was like the alcoholic one Kris replaced at the start of "Miracle on 34th Street". In this film, "Life Begins at Eight-thirty" (that's curtain time for old-time stage professionals) Monte's Thespian character, Madden Thomas, does a between-jobs gig as Department Store Santa, who secretly sips his much-needed "courage", smuggled in from the neighborhood saloon, through a hose from hot water bottle concealed behind his beard. When an uppity customer gasps indignantly upon hearing this Santa letting out a long loud belch, Monte leans down toward her, demanding sarcastically, "What did you expect madame -- chimes?"