Latter-day screwball comedy Eternally Yours was made in what is often described as Hollywood’s greatest year, 1939, and has a superb cast. There are three actors who later won Oscars, not only leads Loretta Young and David Niven, but also Broderick Crawford as the hapless “other man”. Also featured are great silent film actress Zasu Pitts, doing a comic turn, and C. Aubrey Smith, Eve Arden, Hugh Herbert and Billie Burke in small roles. And there’s a good director, Tay Garnett, who went on to make The Postman Always Rings Twice a few years later. Don’t expect too much, though – this is not a masterpiece by any means and I’d have to say it sags in the middle, after a great start.
Any fan of classic romantic comedy will find plenty to enjoy, all the same, just as long as you steer clear of the dire public domain DVDs on the market from companies you’ve never heard of. I rashly bought one of these and found the film almost impossible to watch, with dreadful picture and sound quality, and a lot of bewildering jumps in the story. It later transpired that this was an incomplete version with many scenes missing (including some of the best ones!) so that the plot made little sense. Fortunately there was a more complete version on Youtube (around 90 minutes), with much better sound and picture. This may not be perfect, and still has one or two jumps, but, when I watched this, suddenly the film was immeasurably improved from the butchered version I’d originally seen. I note that the US TCM website also has a DVR version available which may be better yet.
John Barrymore may be best-known for his work in the theatre and in films of the silent era. But, every time I see him in an early talkie, I’m struck by how great he was in these too – and A Bill of Divorcement (1932), a melodrama directed by George Cukor for RKO Radio Pictures, is no exception. Barrymore gives a heart-rending performance as a father coming home after 15 years in a mental hospital. However, although Barrymore was the star with his name above the title, these days the film is best-remembered (when it is remembered at all, that is!) as the debut role for Katharine Hepburn, playing the daughter whose world is about to be torn apart. She was fourth-billed and her name was actually spelt wrong in the final credits, but, even so, she is really a joint female lead with Billie Burke , and has several scenes where her unique film personality comes across.
The film is adapted from a play by British dramatist Clemence Dane, and set in England, although none of the stars worry too much about doing English accents. As with some other movies from this period, this is very much a filmed version of a stage play, with almost all the scenes taking place on the same set, so at times it gives a feeling of what it might have been like to see Barrymore on stage. I have seen some reviews suggesting that the film feels too static, but this is a movie where I think this works, as with Howard Hawks’ The Dawn Patrol (1930), because again the atmosphere is intended to be claustrophobic and intense.
I watched this movie more or less on the spur of the moment. To start with I didn’t know anything about it, and assumed it would be realistic, like most 1930s movies I’ve seen. So I was surprised to discover that in fact it is a comic fantasy, based on a novel by Thorne Smith, who also wrote the book which inspired hit TV series Bewitched.
The plot revolves around a rich, carefree young couple, George (Cary Grant) and Marion (Constance Bennett), who die in a car crash. They find themselves marooned on earth as ghosts, until they can do a good deed to ensure their entrance into heaven. They decide to help a friend, strait-laced banker Cosmo Topper (Roland Young) to enjoy life and stop being so stuffy – but a lot of their ideas turn out to be the sort of help he could do without.