(Gregory La Cava, US 1936, 93 min., 35mm nitrate)
Print source: Filmarchiv Austria, Vienna, Austria
Director Gregory La Cava once described his relaxed method of comedy improv to his drinking companion W.C. Fields as “whatever came to mind,” mixed with “a sort of party atmosphere on set.” Indeed, the production of My Man Godfrey was lubricated by free-flowing liquor, with cast and crew alike imbibing throughout the shoot. They were co-conspirators in La Cava’s “go as you please” filmmaking ethos, and no matter what their role in the production, anyone who brought the party down would be dismissed.
La Cava was the instigating improviser, reworking the script as he saw fit and allowing his actors to ad lib and overlap dialogue, thereby delivering as many jokes as possible. La Cava encouraged stars William Powell and Carole Lombard, Powell’s real-life ex-wife, to lean into their personalities. An esteemed Hollywood hostess and party icon, Lombard was game: her unrestrained portrayal of Irene Bullock mushroomed her own eccentricities. Lombard spent hours before the mirror perfecting Irene’s carousel of child-like expressions, and she earned her only Oscar nomination. Powell, meanwhile, feared the casually boozy surroundings and numerous production delays would sink the film.
The splendid, chaotic party scenes were easy to incite, as many involved were themselves teetering on the rim of inebriation. However, it’s during the quieter, in-between moments that the ensemble shines brightest. Eugene Pallette is at his exasperated best as the family patriarch reaching the end of his rope. Alice Brady nearly steals every scene as the cavernously empty-headed Mrs. Bullock, only to be inevitably topped by Mischa Auer as Carlo, Mrs. Bullock’s peckish protégé. Auer started out playing villains, but his bananas comedic turn here permanently changed the trajectory of his career.
My Man Godfrey was beloved upon release, a magnet for rave reviews and award nominations. Unfortunately, this high-society takedown would be the apex of La Cava’s time in Hollywood, as his own alcoholism scuttled the creative party he once hosted.
This 1936 original release print on Canadian Kodak stock has German subtitles. There is a fair amount of vertical scratching, and the print is slightly warped. The shrinkage is consistently between 0.95% and 1.05%. Dozens of notch cuts and edge tears, chips, and nicks have been repaired.
– Patrick Tiernan