Class Film Review: The Bachelor and the Bobby-Soxer (1947)

The Bachelor and the Bobby-Soxer stars Cary Grant as Richard Nugent, an artist with a penchant for getting into trouble. The first time we encounter him, he's up in front of Judge Margaret Turner (Myrna Loy) after being involved in a fight. She lets him off but later, after giving a lecture at a school, he finds himself the unwitting victim of Margaret's younger sister, Susan (Shirley Temple). To combat the affection Susan has for Richard, it's decided that he will pretend to date her to make her realise how unsuitable he is. Unfortunately, Margaret also finds herself falling for him, thanks in part to the interference of her Uncle Matt (Ray Collins). The cast is rounded out by Harry Davenport as Thaddeus, Rudy Vallee as Tommy and Johnny Sands as Jerry.

I enjoyed this much more than I expected. The delight of having Myrna Loy in a position of authority and being a responsible sister is juggled neatly with her gradually falling for Richard in a more believable way than is usual in these films. Plus, the chemistry between the leads is brilliant. Richard and Margaret's verbal sparring matches just sizzle and the sisterly relationship between Margaret and Susan is well executed. As a lovesick teenager who thinks she's wise beyond her years, Temple is brilliant and this performance really makes me wish her film career had continued for longer. This film does laugh at teenagers and their devout attachments but not in a way that comes across as condescending. It's an odd line but The Bachelor and the Bobby-Soxer manages it very well.

The script is witty and the film put together with the right mix of hilarious dialogue and action scenes. Of the latter, the best is probably the extended race scenes where Richard competes with Susan's 'other' beau Jerry to win but gets very messy in the process. Cary Grant is at his best in this film, suave and yet bringing in a touch of the David Huxley, especially when he finds himself in prison through no fault of his own. Myrna Loy is brilliant from start to finish and Ray Collins, one of the best character actors around, frequently steals scenes with an expression.

Overall, The Bachelor and the Bobby-Soxer is an enjoyable comedy that showcases the talents of all its cast without exception. Light-hearted, yes, but sometimes there's nothing wrong with light-hearted.

Classic Film Review: None But the Lonely Heart (1944)

None But the Lonely Heart stars Cary Grant as Ernie Mott, a drifter who reluctantly returns home to help his sick mother (Ethel Barrymore) run her shop. He has a relationship with Aggie (Jane Wyatt), the understanding girl across the road who takes him as he is, but he's also drawn to Ada (June Duprez). However, her ex-husband, Jim Mordinoy (George Coulouris), doesn't much like their relationship and when Ernie starts working for him it spells trouble.

Apparently, the novel this was based on focused on a much younger protagonist but, I suppose, the studio wanted a vehicle for Cary Grant and shoehorned him into a role that he really doesn't fit. The only scenes that do sparkle are those between Grant and Barrymore, though Grant still looks out of place. Barrymore, for her part, is excellent in an understated performance befitting the ill mother worried about what she's leaving her son with. Jane Wyatt is reasonable as Aggie, though she struggles with some bad dialogue, but June Duprez doesn't impress as Ada. Perhaps it's the character that's too wispy but she certainly doesn't come across as the type of girl the cynical Ernie would fall in love with. Their relationship is integral to the finale but, really, it feels superfluous for most of the film.

The whole thing lacks a direction. For the first half an hour, there's not much at stake, it's all scene setting that could have been done much more quickly. Also, despite the spectre of Ma Mott's impending death, there isn't much for Ernie to lose throughout. There are only a few moments of tension, befitting the small-community feel of the film but meaning it comes across as a bit drab.

Ultimately, None But the Lonely Heart fails on several levels but it does showcase the talent of Ethel Barrymore, and that's never a bad thing.

Classic Film Review: The Philadelphia Story (1940)

The Philadelphia Story stars Katharine Hepburn as socialite Tracy Lord. She's about to be married to the rather boring George Kittredge (John Howard) but ex-husband C.K. Dexter Haven (Cary Grant) is determined to cause mayhem before the ceremony. He's instrumental in getting journalist Mike Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey) into the wedding but he may not have banked on the attraction that springs up between his ex-wife and Mike.

Picking between the three leads of this film is nearly impossible. Hepburn shines in the role she was born for while Grant is perfect as Dexter. However, if I really had to pick, then it's Jimmy Stewart who steals the show. His drunk scenes with Cary Grant are downright hilarious, I'm smiling just thinking about them. But the chemistry between the cast as a whole is excellent. Ruth Hussey impressed me again (I saw her last month in Tender Comrade, 1943, reviewed here) and her scenes with Stewart are brilliant. There's also one gorgeous scene between Hussey and Grant which lingers in my memory. In addition, I loved the little relationship between the Lord sisters, Tracy and Dinah (Virginia Weidler) and the dynamics of the rest of the family.

The dialogue in this film is fast, witty and sometimes difficult to follow. It's both intelligent and funny, something sadly lacking in many so-called romantic comedies. Hepburn does aloof so well and her crash back down to earth is satisfying and fun to watch. If I had to pick a favourite scene (apart from Stewart's drunk ones), it would probably be the one in the pool house when Dexter interrupts Tracy and Mike and an argument ensues. That scene probably sums up the themes of the film, as well as being brilliant acted by all parties.

I can see why people call this Hepburn's best film. However, my soft spot for Bringing Up Baby (reviewed here) and The African Queen (reviewed here) and, for me, The Philadelphia Story doesn't quite knock them off the top spot. Still an excellent film though.

Classic Film Review: Charade (1963)

Charade stars Audrey Hepburn as Regina Lampert, a woman who returns to Paris from holiday to find that her husband sold all their possessions and was then murdered on a train. The police want to know what he did with the money, so does government official Hamilton Bartholemew (Walter Matthau) and three strangers who turn up at his funeral. Regina is supported at this difficult time by Peter Joshua (Cary Grant), someone she barely knows who seems to be hiding a few secrets of his own. As it transpires that her husband's murderer is out to get her, believing she has the money, it becomes a race against time to save her life. And where is the money?

I adored this film. Hepburn and Grant work brilliantly together, large age-gap or not. Sometimes with films you get the impression that the cast were having as fun a time putting it together as the audience subsequently gets in watching it and this is one of those films. The witty dialogue between Regina and Peter Joshua during their first meeting sets the tone for the rest of the film and it's downright fantastic. They bounce off each other so well and there's a warmth between them that's unmistakable.

As for the story, it kept me hooked. I was a few steps ahead of the narrative but, really, I just enjoyed the ride. It was very well-written with numerous twists and turns and some clever digs at the thriller genre. We've got a rooftop fight, a dead man in a bath, concealed identities and a tense stand-off in a deserted theatre. It cranks up the atmosphere whilst still remaining amusing. Almost inevitably, my favourite scenes are Grant/Hepburn ones: the early scene already mentioned, the scene in the club where they're roped in as volunteers and the brilliant shower scene that had me in fits of laughter. My favourite moment is probably when Regina asks Peter how he shaves inside that famous Cary Grant dimple.

Charade rocketed onto the list of my favourite films, joining the likes of Bringing Up Baby, The African Queen and Rebecca. That company should indicate quite how wonderful this film is. Completely recommended.

Classic Film Review: Suspicion (1941)

Suspicion stars Joan Fontaine as Lina, a woman living with her parents who, rather unkindly, label her a spinster within her hearing. She has encountered Johnnie Aysgarth (Cary Grant) on a train and he pursues her. They swiftly elope and have an excellent honeymoon but when they return to Britain Lina has to confront the fact that Johnnie a chancer, a gambler who is adept at manipulating people. Her worries deepen when she suspects he means to kill his friend Beaky (Nigel Bruce) to procure money but is she correct about his intentions?

This is an excellent film, winning Joan Fontaine a much-deserved Oscar for her performance. The development of Lina from a bright but in-love heroine to a fearful wife who is petrified about the potential ruthlessness of the man she has married. Fontaine's a very subtle actress, sometimes the slight lift of an eyebrow is all that distinguishes an emotion, but she's very effective. A combination of an excellent script and her wonderful control of the role created a heroine who wasn't weak but didn't know exactly what to do with her suspicions either. The consistent use of her glasses throughout not only worked as a metaphor but added to the overall tension. Cary Grant works very well in a darker role than he is known for. The flashes of anger that punctuate the film create a sense of unease, encouraging the viewer to share Lina's beliefs rather than trust in Johnnie. There are some excellent scenes, showing Hitchcock's matchless talent for creating tension, for example, the long-shot of Johnnie delivering an odd-looking drink to his sick wife.

Ultimately, though, as gripping as the rest of the film was, I feel that the ending let it down. It wasn't true to the characters, nor very satisfying for the audience. I understand that the ending of the book was altogether different and this is yet another instance of executives interfering with story-telling. Nevertheless, Suspicion is an excellent film, worth watching for the Oscar-winning performance from Fontaine alone.

Classic Film Review: Notorious (1946)

Notorious stars Ingrid Bergman as Alicia Huberman, the daughter of a Nazi sympathiser who has been convicted of treason. Alicia is convinced by the government, spearheaded by Devlin (Cary Grant), to infiltrate a group of her father's friends in Rio. While waiting for her assignment, Alicia vows to change her ways and begins a relationship with Devlin. However, her fake relationship with Alexander Sebastian (Claude Rains) quickly becomes serious - from his point of view - and he proposes to her, despite the misgivings of his mother (Leopoldine Konstantin). What follows is a game of cat and mouse that leaves Alicia's life in danger.

This is an excellent film. Cary Grant is at his suave best as Devlin, masking everything wherever possible, and Bergman's bad-girl-turned-good act is very appealing. There is definite chemistry between the pair, only really quantifiable when you compare the Alicia/Devlin relationship with that of Alicia/Sebastian. However, Rains is excellent in the film as a whole, particularly the last few scenes where his panic shines through. The supporting players add to the tension but, really, this film belongs to Grant and Bergman.

There are genuine moments of tension and mystery, and with it being a Hitchcock film you're never quite sure where it will go. Some of the camera angles, particularly at the beginning after Alicia's drunken stupor, add to the effect and the scene of her 'realisation' later on is both perfectly shot and perfectly acted. You have to pay attention to the sharp dialogue at times and I did rewind to catch full meanings on occasion but it all conspires to create a riveting finale.

Notorious richly deserves its reputation as one of Hitchcock's best. I doubt the tension will diminish on second viewing or many viewings after that.

Classic Film Review: The Bishop's Wife (1947)

The Bishop's Wife stars Cary Grant as Dudley, an angel who answers a call from Bishop Henry Brougham (David Niven) who is desperate to arrange funding for his new cathedral. He has been grovelling to wealthy Mrs Hamilton (Gladys Cooper) who is adamant that her late husband's legacy should be immortalised in the building, however illogical that may seem. On the outskirts of this is the bishop's wife, Julia (Loretta Young). She and her daughter are frequently sidelined by Henry's myopic business head. Not only is he losing the devotion of his wife but his religion seems to be lacking too. Just what is Dudley here to fix and will he get too close to Julia?

This was a charming film, showcasing Grant as his best. He gets plenty of opportunities to deliver brilliant lines and react to them, bouncing well off all the cast, especially Elsa Lanchester as Matilda the maid. Apparently, the first intention was to have Niven playing the agent and Grant the bishop - switching them was genius. Niven's performance as the harried bishop is stiff and proper, perfectly in keeping with the role. It's difficult to see them the other way round. Loretta Young is good as Julia, contrasting her hopeless distraction at the beginning of the film with the way she comes alive when she meets Dudley. Also watch out for James Gleason in a small role as a taxi driver and Monty Woolley as Professor Wutheridge, an old friend of the Broughams who is foxed by Dudley. There's a particularly delightful scene involving an ever-replenishing glass played to just the right effect.

Obviously, it's a fluffy film. Set at Christmas, it has the undeniable air of that season around it with ice-skating, snow and shopping. However, it's still very pleasant, a nice little foray into the unreal. Cary Grant doesn't play Dudley as very different to the humans he helps, only all-knowing and with a sense of humour. The Bishop's Wife can't be easily categorised as a 'fantasy' film - it doesn't have the air of the fantastical hanging around it. Instead, it's a good light comedy about human nature and what you need over what you want.

Classic Film Review: Mr Lucky (1943)

Mr Lucky stars Cary Grant as Joe Adams, a gambler who has appropriated the name of a dead gangster in order to escape the army. He plans to con a war charity by affixing a gambling den to their function and siphoning off the profits. Volunteer and society girl, Dorothy Bryant (Laraine Day), suspects he's trying to con them but they gradually fall for each other. What they don't know is that Joe's former partner Zepp (Paul Stewart) is plotting against them. If Joe does have a change of heart, it won't be simple.

One of my issues with this film stems from the confusion about what it's meant to be. IMDB lists it as a comedy/romance while the television guide had it down as a drama. For me, it was all those things - a comedy in the first half with drama in the second and a romance string stretching through the piece. Cary Grant plays the charmer extremely well but once Joe begins to fall in love with Dorothy the humour necessarily disappears. There is one scene in a Greek church where he learns about the fate of his appropriated name's family at the hands of the Germans that signals a complete shift in tone and sets up the final half an hour.

Grant was good, though struggling with a script that kept information back from the audience in a rather sluggish manner. Laraine Day was excellent as the feisty society girl, less so as the romantic sap who falls for Joe. The supporting cast, with the exception of Gladys Cooper as Dorothy's boss, are mediocre with no depth. There are a few good comic moments, with Joe conning people on behalf of the charity and learning how to knit, but once the serious tone sets in, it becomes more run-of-the-mill.

I did enjoy it, for all the difficulties. It was an odd role to find Grant in and, on occasion, the romance aspect seemed completely implausible. That said, I wanted to see how it all ended, so it can't have been that disastrous a film.

Classic Film Review: To Catch a Thief (1955)

To Catch a Thief stars Cary Grant as ex-cat burglar John Robie. When a new spate of burglaries occur on the Riviera, Robie is instantly suspected and, mindful that the police won't give him a fair hearing, he escapes from them and sets about proving his own innocence with the help of insurance agent H.H Hughson (John Williams). He identifies mother and daughter Jessie (Jessie Royce Landis) and Frances Stevens (Grace Kelly) as potential victims and latches on to them but Frances is wise to his deception and doesn't trust him an inch.

I'm afraid that the editing and dubbing on this film was one of the worst I've seen, especially in such an otherwise excellent film. It really put me off, particularly the use of a non-English speaking actor, Charles Vanel, as important character Bertani. Rather than getting immersed in the story I found myself thinking how bad the dubbing was and that's not to mention the pasting together of shots, most noticeably during the rooftop chase, that pulled me back from the story.

The actual plot is excellent and Cary Grant is at his best as the reformed cat-burglar. He and Grace Kelly work well together as friendly adversaries, though I have to say that my favourite scenes came with Grant interacting with Jessie Royce Landis as Jessie Stevens. The characters interacted so beautifully, particularly in the bedroom scene where she lets him escape. Equally, John Williams as the upright insurance agent is a pleasure to watch.

The scenery in this film is amazing and it's worth watching for that alone. Awe-inspiring and utilised as a good backdrop to the main story, it's stunningly shot. Also, the costume ball section of the film is luscious, filled with vibrant costumes and wonderfully directed by Hitchcock.

All in all, this would have been an incredible film, if not for the atrocious dubbing and occasionally off-putting editing. Nevertheless, it remains an excellent one with Grant at his charming and debonair best.

Classic Film Review: Once Upon a Honeymoon (1942)

Once Upon a Honeymoon stars Ginger Rogers as an American ex-burlesque dancer and social climber who is engaged to be married to Baron Von Luber (Walter Slezak) in Vienna. She currently goes by the name of Katherine Butt-Smith, though her real name is Kathie O'Hara. Fellow American Patrick O'Toole is a journalist interested in the baron's political ties to Hitler. He follows the couple, who marry shortly after leaving Vienna, across Europe and, finally, Kathie realises that her husband is a close ally of the Nazis and seeks refuge with O'Toole. They fake her death but continue to follow him, ending up in Paris where an undercover American spy has a task for Kathie that neither she nor O'Toole is going to like.

This is an odd film, blending tragedy with comedy and not always getting it right. The main plot of a love triangle often feels at odds with the serious nature of the war going on around them. Two really dark moments stick out in my mind: the moment when Kathie gives her passport to her Jewish maid to allow her to flee the country with her two children and puts them on the back of a van to travel to safety then when she and O'Toole are taken by the Nazis and read a notice on a door about forced sterilisation procedures. Moments like this are hard-hitting but do feel out of place in a film that begins with Cary Grant playing with a tape measure as he impersonates Kathie's dress-fitter.

The relationship between Kathie and O'Toole is well-developed enough not to feel rushed and Rogers and Grant play it well. I was less certain about Baron Von Luber's relationship with Kathie - while it was evident why she wanted to marry him, he was underdeveloped in that respect. Not to say that Slezak's performance as the duplicitous baron isn't excellent, it's just that the character isn't as developed as I would've liked. Again, this probably comes from the film being a cross between a comedy and a drama, where the requirements for the third character in a love triangle are somewhat different.

I really enjoyed this one, despite the irregularities in genre and pace. It does descend into propaganda at times but Rogers treats this lightly enough for it not to be too blatant. Her final scenes with Grant on the ship bring the film back to comedy when something incredibly dark has just happened - again, I'm not sure about the tone but I can't fault Rogers and Grant for playing the scene as it was written.

Classic Film Review: My Favourite Wife (1940)

My Favourite Wife stars Cary Grant as Nick Arden, a man who has just declared his wife legally missing seven years after she was presumed dead in a shipwreck and married a second wife. The only problem is that on the very day he declares her dead, Ellen (Irene Dunne) manages to make it home. She pursues Nick and new 'wife' Bianca (Gail Patrick) to their honeymoon hotel and reveals herself to Nick. He's over the moon at her return but has difficulty telling Bianca. Just as he's about made up his mind to, he discovers that Ellen wasn't shipwrecked alone - there was a man, Stephen Burkett (Randolph Scott), on the island too and they called each other 'Adam' and 'Eve'. Hilarity and shenanigans ensue.

I loved this one. Grant is at his personable best as Nick, a man rightly disturbed by the idea of his wife spending seven years secluded with another man. Meanwhile, Dunne just lights up the screen from the moment she appears. Surprisingly, as the film went on, I found myself warming to Gail Patrick as her confusion at her 'husband's' bizarre behaviour grows. There is one sequence where she brings a doctor to the house that is downright hilarious. But, really, this film belongs to Grant and Dunne. Nearly all of their scenes are funny, though the laughs tail off a little towards the end as outside forces cease to be relevant.

One thing I really liked was the way the two children were utilised. Instead of breaking the news to them off-screen, Ellen tells them who she really in during a sweet little scene where they already knew. Whilst this is a comedy there are moments of poignancy scattered throughout. My favourite scene, though, has to be when Ellen has accosted a salesman and persuaded him to be Stephen Burkett for a few minutes, just to allay any fears Nick may have about him being an attractive man. Of course, what she doesn't know is that Nick's already scoped out the competition!

If you're looking for a nice, light comedy with some excellent lead performances as well as some amusing secondary players then this might just do the trick. Watch out for Granville Bates as the judge forced to unravel the case and Donald MacBride as the hotel clerk forced to get tough on the man with two wives in suites opposite each other.

Classic Film Review: Sylvia Scarlett (1935)

Sylvia Scarlett stars Katharine Hepburn as the title character, the daughter of a thief (Edmund Gwenn) who has liberated some expensive lace from his employer and needs to escape the country. A man travelling with a daughter would be too conspicuous so Sylvia becomes Sylvester. On the boat they meet Jimmy Monkley (Cary Grant) who, after shopping them to customs for smuggling lace, invites them to come along with him and make some immoral money. Along the way they encounter artist Michael Fane (Brian Aherne), who Syvlia - still dressed as Sylvester - immediately falls for.

One of the main problems with this film is the incoherence. There seem to be a set number of 'situations' that the characters are boxed into with no real logic between them. In addition, the characterisation's a bit rubbish (you'd show more emotion if your father had stumbled off a cliff, I think) and some of the accents are appalling (surprisingly, Grant's is the worse of all!). However, it does have some comical moments stemming from the male impersonation of the title character. Hepburn, of course, does boyish extremely well and it's not a stretch to believe the impersonation - it's actually more difficult to accept the character when she goes back to being Sylvia.

One thing that did surprise me was the satisfying ending. The writers weren't overcome with the necessity to shoehorn the characters into the ending appropriate to the billing, perhaps the best bit of characterisation throughout the whole film.

This is an odd one - entertaining in parts, lacklustre in the main. However, it's worth watching just for Hepburn's performance as Sylvester (and there is an almost amorous moment where her step-mother decides to take a chance on her 'step-son').

Classic Film Review: Kiss Them For Me (1957)

Kiss Them For Me is the tale of three decorated Navy pilots who wangle some leave in San Francisco and try to make it last as long as possible by getting some other 'war work'. Crewson (Cary Grant), McCann (Ray Walston) and Mississip (Larry Blyden) are very different men but all are likeable in their own way. They come across various characters including Alice Kratzner (Jayne Mansfield) who has vowed to kiss every member of the forces she sees and Gwinneth Livingston (Suzy Parker), an engaged woman who Crewson likes the moment he sees.

Perhaps the main problem with this film is that it can't decide what it's supposed to be. On the one hand, it's a light comedy with the boys trying to avoid going back to war but, on the other, there are some deeper moments that depict the realities of war. Case in point: while out with Gwinneth, Crewson encounters an old friend he knew who was invalided out. The man's so thin and decrepit that Crewson doesn't recognise him and only has weeks to live. This scene doesn't sit well with the amusing ones that precede it - and it's not an isolated occurrence.

I have to say, Jayne Mansfield's character got a tad grating at times, though she was better when paired with Walston's married McCann, who is hoping to win an election and is in constant contact with his wife, than with Grant's Crewson. Equally, although Suzy Parker began the film in good form, she didn't work as the woman who speedily fell in love. The aloof persona she adopted so well in the early scenes (and the reason I warmed to her) disintegrates as she's forced to indulge in a typical Hollywood romance. My favourite performance ended up coming from Ray Walston (whose next film would be the excellent South Pacific) whose likeability shone through a difficult script.

This is not an excellent film, though I suspect it suffered from being badly adapted. However, there are several amusing moments (if you want to watch it on that level) and several more serious ones (if you want to watch it on another). Some of the dialogue feels preachy and some of it gets too slangy than necessary but, overall, a decent film to waste some time with.

Classic Film Review: Indiscreet (1958)

I find it odd that Indiscreet was billed as a comedy as well as a romance. Although it has a few comic moments, it's a generally emotional film about actress Anna (Ingrid Bergman) who meets her brother-in-law's potential colleague, Philip (Cary Grant), after coming back unexpectedly from a trip. There is an immediate attraction and Anna accompanies them to the dinner where Philip is giving a speech. When they are left alone later, Philip admits he's married but Anna wants to go out with him anyway. Philip accepts a job in Paris so he can see Anna on weekends and they begin a romance. Unfortunately, Anna finally discovers Philip's deceit - Philip isn't married, he just doesn't ever want to get marriage and so lied about his situation. She then puts on the performance of her life in order to punish him.

There are some beautiful moments in this film. One that stands out for me is when Anna and Philip are reluctant to part after their first date. Philip sees her to the elevator, then into the elevator. As the attendant stands with his back to the camera there is a long look between Anna and Philip - nothing is said but the emotion between them is evident. Bergman and Grant make a perfectly believable couple and there is another wonderful split-screen scene when they are both in their beds talking to each other over the phone. Their romance feels real, which makes Anna's reaction to his marriage all the more explosive.

Special mention must go to the supporting cast in this one. Phyllis Calvert is superb as Anna's sister, Margaret, while her husband is played with a light comic touch by Cecil Parker. In addition, Anna's hired help - husband and wife team (played by David Kossoff and Megs Jenkins - are important to the later plot. There are no superfluous characters which allows the focus to rest on Bergman and Grant throughout. One final note: Anna's apartment struck me as one of the most elegant sets in film, perfectly suited to the character and well utilised for all the important scenes.

This was a beautiful romance with a kick and, as my first introduction to Ingrid Bergman, it was very good. Recommended and not only because Cary Grant dancing is hilarious.

Classic Film Review: Bringing Up Baby (1938)

I was astounded to learn that Bringing Up Baby was a commercial flop on release but relieved that the hilarity has since been recognised in numerous 'Best Film' lists. It's certainly going on mine. Like Monkey Business (1952, reviewed a few weeks ago), this film stars Cary Grant as a scientist, this time a zoologist called David Huxley who's about to take delivery of a very important dinosaur bone. Oh, and he's getting married to the rather prim Miss Swallow as well. A chance encounter with odd Susan Vance (Katharine Hepburn) on the golf course sets off a chain of events that involve chasing a tame leopard (the 'Baby' of the title), David trying desperately to cling onto his promised funding from Susan's aunt and chasing around a dog with a bone (yes, the priceless dinosaur bone). It all makes for an hilarious film that had me laughing from start to finish.

Grant really excels as the irritable yet chivalric David. He might not like Susan but when he thinks she's being clawed to death by a leopard he rushes to her defence. That sets him off on one of the craziest paths I've seen in film. However, one of my favourite moments of the film has to be close to the beginning when David accidentally rips the back of Susan's dress and tries to cover her up. Another is when he sees Baby for the first time and learns that the leopard's favourite song is 'I Can't Give You Anything But Love'. Well, what leopard wouldn't love that song?

The film is full of twists and turns, some expected and some not. I could tell as soon as the dog was introduced that he would take an interest in the bone but I didn't anticipate Cary Grant with a butterfly net over his head. The ensemble cast is excellent and, despite Hepburn apparently having no comic practice prior to this film, she brings it off marvellously. Susan is an eccentric character, not a purposefully comic one so I think the lack of experience helped rather than hindered. I didn't see the chemistry between Susan and David as that of lovers, they came across as more of exasperated friends but they certainly sparked off each other in this film and that's what matters. A fantastic script, a wonderful cast and a laugh-out-loud film I want to see again: perfect!

Classic Film Review: Monkey Business (1952)

I have to preface this review by saying that I really can't remember when I watched a film that made me laugh as hysterically as this one. Starring Cary Grant, Ginger Rogers, Marilyn Monroe and Charles Coburn, Monkey Business tells the story of absent-minded professor Barnaby Fulton (Grant) trying to come up with a formula for the fountain of youth. His boss Mr Oxley (Coburn) is very interested in the idea while Fulton's wife Edwina (Rogers) just has to deal with her husband being a little more scatty than usual. Barnaby thinks he's got the formula right and tests it on himself - what he doesn't know, however, is that instead of his formula working one of his chimpanzees has turned scientist and mixed another version of the formula into the laboratory water bottle... Chaos ensues.

There were so many hilarious scenes in this that I can't list them all. For instance, Edwina's first effects from the formula lead her to put a fish down Mr Oxley's pants. Rogers's comic ability really shines through in this film, particularly when she uses a slingshot to hit secretary Miss Laurel (Monroe) on the rear end. In fact, even popping gum is hilarious when Rogers does it. Not to be outdone, Cary Grant dresses up as an Indian brave in order to scalp a love rival and flies down a laundry chute when he loses his glasses. Miss Laurel is the only one never polluted but Marilyn Monroe is at her lightest comic best. The effect of all this is one of the best comedy films I've watched in years. Not bad for 1952.

Film buffs also might be interested in the fact that while Monkey Business co-stars Monroe and Coburn prior to their success together in Gentlemen Prefer Blondes (1953), it also has a small appearance by child actor George Winslow as a little Indian. Winslow played, of course, Henry Spofford III in Gentlemen Prefer Blondes, the young man who helps Monroe's character out of a porthole amongst other things. He may only have a few lines in Monkey Business but he makes them count.