Movies like these don't get filmed anymore. The subject matter would not appeal to an audience that today run to the hills at the mention of the words "literate adaptation of a successful Broadway play" which happens to be not about sexy murderesses or sexy bed hoppers, but of people who talk and act in perfectly clipped words and mannered affectations more often seen in such sitcoms like "FRASIER".
THE MAN WHO CAME TO DINNER is a perfect example of a film that remains dated due to its very subject matter. Screenwriters George S. Kaufmann and Moss Hart came up with this hilarious story based on the personalities (as per them) of then-film critic Alexander Woollcott, playwright Noel Coward, and theatre actress Gertrude Lawrence, and in doing so created a smash Broadway hit that received this film version. Stories tell of John Barrymore being up for the part of Sheridan Whiteside (Woolcott) but being 'unable' to remember his lines, which prompted to keep theatre actor Monty Woolley from the original play. Monty breathes a massive amount of life into his smothering, capricious character and of course makes the movie all his. By his side, a perfect foil, is Bette Davis playing Maggie Cutler. The original role was not as large in the play but was expanded for this version and is the only time during her golden period in Hollywood when she stepped down and took a secondary role (though billed first, which must have helped make it a box-office hit). Ann Sheridan as theatre actress Lorraine Sheldon has the third billing and rips into her hysterical role. Watch her scenes with Bette: Maggie and Lorraine bait each other whenever they're on screen together but for the first time, do not watch Davis (who plays well as the quieter, servant female). Ann Sheridan looks like she's about to burst out of her clothes and tear right into Davis.
A near perfect cast: Billie Burke playing more of the same variation of the ditsy socialite, Reginald Gardner doing a great impersonation of Noel Coward (and sporting a great "stuttering" scene at a key point of the movie) and especially Mary Wickes, playing Mrs. Preen, a nurse in attendance of Sheridan who cracks under the pressure of so much craziness. A fantastic, wonderful comedy.
THE MAN WHO CAME TO DINNER is a perfect example of a film that remains dated due to its very subject matter. Screenwriters George S. Kaufmann and Moss Hart came up with this hilarious story based on the personalities (as per them) of then-film critic Alexander Woollcott, playwright Noel Coward, and theatre actress Gertrude Lawrence, and in doing so created a smash Broadway hit that received this film version. Stories tell of John Barrymore being up for the part of Sheridan Whiteside (Woolcott) but being 'unable' to remember his lines, which prompted to keep theatre actor Monty Woolley from the original play. Monty breathes a massive amount of life into his smothering, capricious character and of course makes the movie all his. By his side, a perfect foil, is Bette Davis playing Maggie Cutler. The original role was not as large in the play but was expanded for this version and is the only time during her golden period in Hollywood when she stepped down and took a secondary role (though billed first, which must have helped make it a box-office hit). Ann Sheridan as theatre actress Lorraine Sheldon has the third billing and rips into her hysterical role. Watch her scenes with Bette: Maggie and Lorraine bait each other whenever they're on screen together but for the first time, do not watch Davis (who plays well as the quieter, servant female). Ann Sheridan looks like she's about to burst out of her clothes and tear right into Davis.
A near perfect cast: Billie Burke playing more of the same variation of the ditsy socialite, Reginald Gardner doing a great impersonation of Noel Coward (and sporting a great "stuttering" scene at a key point of the movie) and especially Mary Wickes, playing Mrs. Preen, a nurse in attendance of Sheridan who cracks under the pressure of so much craziness. A fantastic, wonderful comedy.