George S. Kaufman

Two giants of American humor, Ring Lardner and George S. Kaufman, collaborated for this stage comedy (a major success on Broadway when it was first staged in 1929) about a young tunesmith's struggle to succeed in the dog-eat-dog world of Tin Pan Alley. An up-and-coming songwriter (Tom Fitzsimmons) arrives in the big city hoping to make good, and is soon befriended by a veteran composer (Jack Cassidy) whose career isn't what it used to be. The kid looks like he may have a solid career ahead of him, but he soon attracts the attentions of a brass-hearted dame (Susan Sarandon) who wants to take him for his future fame and wealth. This production of June Moon (created for PBS, where it first aired in 1974) features a top-notch supporting cast, including Kevin McCarthy, Estelle Parsons, Austin Pendleton, Marshall Efron, Lee Meredith, and one of Broadway's greatest composers, Stephen Sondheim, in a rare acting role as a fellow Tin Pan Alley melody maker. ~ Mark Deming, All Movie Guide

The Solid Gold Cadillac was adapted from the George S. Kaufman-Howard Teichmann Broadway hit of the same. Both the play and film were predicated upon the notion of a humble ten-share stockholder triumphing over a corrupt big-business board of directors, but there was one significant difference. In the stage version, septuagenarian Josephine Hull starred as Laura Partridge, a sweet little old lady who asks several embarrassing questions at a stockholder's meeting. In the film version, Laura's age is lowered by at least four decades to accommodate star Judy Holliday. In both versions, a romance develops between Laura Partridge and Edward L. McKeever, the owner of the corporation she takes on. McKeever (played in the film by Paul Douglas, Holliday's co-star in the Broadway version of Born Yesterday) is an honest man, which is more than can be said for his self-serving board of directors (Fred Clark, John Williams, Ray Collins et. al.) With McKeever's covert help, Laura, who has been given a dummy executive position in the corporation in hopes that she'll shut up, forms a stockholder's association intent upon throwing the rascals out. Though the dialogue in Solid Gold Cadillac is consistently entertaining, the film's best line goes to Judy Holliday: Describing her brief career as an actress in a Shakespearean troupe, she recalls ruefully that "No one's allowed to sit down unless you're a king." George Burns, taking over from the stage version's Fred Allen, provides the wry scene-setting narration. Currently available TV prints of The Solid Gold Cadillac have restored the original Technicolor final shot. ~ Hal Erickson, All Movie Guide

This musical comedy stars William Powell as Emery Slade, who was once a major film star but lately isn't getting much work. Arrogantly determined to climb back to the top, Slade convinces studio chief Melville Crossman (Adolphe Menjou) to give him the male lead in the film version of a Broadway musical. However, Crossman's offer comes with a catch: Emery has to persuade the show's female lead to appear in the movie. Slade heads to New York to seal the deal, but instead he discovers a gifted young unknown named Julie Clark (Betsy Drake) and decides she's perfect for the role. Crossman is not too enthusiastic about this news, and neither is publicist Bill Davis (Mark Stevens), who is given his pink slip along with Slade. However, Slade is determined to make a career for Julie in Hollywood, though it's not until later that he realizes why he feels so strongly about her. Movie buffs will get a kick out of Menjou's performance, closely modeled on 20th Century Fox boss Darryl F. Zanuck. ~ Mark Deming, All Movie Guide

Based on John P. Marquand's Pulitzer Prize-winning satirical novel of the same title, this film stars Ronald Colman as George Apley, a Beantown blueblood passionately in love with his hometown. In his mind, Boston is the world's center of modern civilization and gentility and he has made it very clear that his son and daughter are to remain there for their entire lives and only associate with native Bostonians. Imagine poor Apley's horror, then, when his Harvard-student son falls in love with a Worcester girl and his daughter falls in love with a Yale student. ~ Sandra Brennan, All Movie Guide

For reasons unknown, Paramount Pictures decided to dust off the 1926 George S. Kaufman-Herman Mankiewicz stage comedy The Good Fellows for its 1942-43 release schedule. Cecil Kellaway plays Jim Hilton, a small-town family man who neglects his wife and kids, preferring the company of his lodge brothers. He spends so much time with and money on "The Good Fellows" that he's soon hopelessly in debt. An unexpected third-act financial windfall saves the day, but Hilton shows few signs of mending his ways by fadeout time. The film might have seemed fresher had not the premise been done to death in the previous decade by Laurel & Hardy, Charley Chase and other 2-reel comedians. ~ Hal Erickson, All Movie Guide

Star-Spangled Rhythm is a typical wartime all-star musical-comedy melange, this time from Paramount Pictures. The slender plot involves the efforts by humble studio doorman Pop Webster (Victor Moore) to pass himself off as a big-shot Paramount executive for the benefit of his sailor son Jimmy (Eddie Bracken). The overall level of humor can be summed up by the scene in which Webster is advised that the best way to pretend to be a studio big-shot is to say "It stinks!" to everything -- whereupon Cecil B. DeMille shows up to ask Webster's opinion about his current production. Betty Hutton, cast as studio switchboard operator and co-conspirator Polly Judson, is at her most rambunctiously appealing here. The huge lineup of guest performers includes Bing Crosby (and his 8-year-old son Gary!), Bob Hope, Veronica Lake, Dorothy Lamour, Dick Powell, Mary Martin, Alan Ladd, Fred MacMurray, William Bendix, Paulette Goddard, and Eddie "Rochester" Anderson, most (but not all) of them going through their characteristic paces. Highlights include a surrealistic rendition of That Old Black Magic with Johnnie Johnston and Vera Zorina; a frantic staging of the old George S. Kaufman sketch "If Men Played Cards as Women Do" with MacMurray, Ray Milland, Franchot Tone, and Lynn Overman; and The Sweater, the Sarong and the Peekaboo Bang, first performed by Goddard, Lamour and Lake, then lampooned in drag by Arthur Treacher, Sterling Holloway and Walter Catlett! PS: The actor playing Rochester's chauffeur in the Smart as a Tack number is John Ford "regular" Woody Strode. ~ Hal Erickson, All Movie Guide

The George S. Kaufman/Moss Hart Broadway hit The Man Who Came to Dinner was inspired by the authors' mutual friend, waspish critic/author Alexander Woollcott. Generously bearded ex-Yale professor Monty Woolley, no mean curmudgeon himself, plays the Woollcott character, here rechristened Sheridan Whiteside. While on a lecture tour in Ohio, Whiteside slips on the ice outside his hosts' home; until his broken leg heals, the hosts (Grant Mitchell and Billie Burke) are forced to put up (and put up with) the imperious Whiteside. This means enduring an unending stream of Whiteside's whims, caprices and vitriolic bon mots, as well as his long-distance phone calls, eccentric guests and a variety of critters, ranging from penguins to octopi. Like the real Woollcott, Whiteside insists upon stage-managing the lives of everyone around him. He is particularly keen on discouraging a romance between his faithful secretary Maggie Cutler (top-billed Bette Davis) and local newspaper editor Bert Jefferson (Richard Travis). Once he realizes he's gone too far in this respect, Whiteside is forced to reunite the lovers. That's only one aspect of a three-ring-circus plotline that accommodates a Lizzie Bordenish axe murderess, takeoffs of Woollcott intimates Harpo Marx, Noel Coward and Gertrude Lawrence, and a general practitioner who's willing to let his patients suffer for a chance to pitch his interminable memoirs to Whiteside. Featured in the cast are Jimmy Durante as "Banjo" (the Harpo clone), Reginald Gardiner as the Noel Coward-like Beverly Carlton, Anne Sheridan as the predatory Gertrude Lawrence counterpart Lorraine Sheldon, and Mary Wickes as the long-suffering Nurse Preen ("You have the touch of a love-starved cobra!") The script, by the Epstein brothers, manages to retain most of the play's best lines and situations, even while expanding Bette Davis' role to justify her start status; it's a shame, though, that we are robbed of Sheridan Whiteside's imperishable opening line, "I may vomit!" ~ Hal Erickson, All Movie Guide

The 1922 George S. Kaufman-Marc Connelly play Dulcy was based on a delightful character created by columnist Franklin P. Adams: Archetypal "dumb wife" Dulcinea, who continually spouted cliches like "There's never a policeman around when you need one" and "Don't take any wooden nickels." Lynn Fontanne created the role of Dulcy on stage, followed in 1923 by Constance Talmadge in the first screen version, then by Marion Davies in 1929's Not So Dumb, the first talkie version of the Kaufman-Connelly comedy. This 1940 remake stars Ann Sothern as dizzy Dulcy, who hopes to improve her aviator boyfriend Gordon Daly's (Ian Hunter) business prospects by holding a fancy dinner party. The result is a disaster, but the introduction into the plotline of a Chinese war orphan (intended as a timely touch) solves everyone's problems. Like the original play, the film is stolen by Dulcy's ex-con butler, here played by "Big Boy" Williams. A very young Hans Conried has a cute running gag as a saturnine author, whose ongoing efforts to find solitude in a canoe are continually (and literally) scuttled by the zany Dulcy. ~ Hal Erickson, All Movie Guide

Moss Hart and George S. Kaufman's whimsical Pulitzer Prize-winning Broadway play You Can't Take It With You was transformed into a paean to populism by director Frank Capra and screenwriter Robert Riskin. This is the story of the zany Sycamore household, presided over by Grandpa Vanderhof (Lionel Barrymore), a former businessman who has turned his back on commerce to enjoy life. At the Sycamores', everyone does just what he or she pleases. Penny Sycamore (Spring Byington), Grandpa's daughter, has become a novelist because someone delivered a typewriter to her home by mistake. Penny's husband makes firecrackers in his basement with the help of Mr. DePinna (Halliwell Hobbes), an iceman who showed up at the Sycamore doorstep one day and never left. Their daughter, Essie (Ann Miller), imagines that she's a prima ballerina, even though her dour teacher, Boris (Mischa Auer), assesses her work with, "Confidentially, it steenks!" Essie's husband, Ed (Dub Taylor), who'd rather play a xylophone than work, spends his free time selling Essie's candy, wrapping each package in paper from a used printing press that dispenses anarchistic slogans. The one normal member of the household is Alice Sycamore (Jean Arthur), in love with wealthy Tony Kirby (James Stewart).

Naturally, when the stuffy, aristocratic Kirbys come to the Sycamores' for dinner, the event is a disaster, capped with the arrest of everyone in the household. Hart and Kaufman's third act found the previously judgmental Kirby softening his attitude toward the freewheeling Sycamore clan, admitting that he's never had so much fun in his life. Screenwriter Riskin altered the focus of the play by throwing out the third act and concentrating upon Tony Kirby's father, Kirby Sr., who as played by Edward Arnold is transformed from a stock stuffed shirt into a ruthless, grasping tycoon, eager to buy up every house on the Sycamores' block to make room for a munitions plant. The film thus became the story of Kirby's regeneration at the hands of the carefree Sycamores. Enough of the play's screwball elements are retained to compensate for Riskin's speechifying and plot distortions (though the softening of one of the play's vital ingredients, Grandpa's refusal to pay his income tax, borders on the sacrilegious). You Can't Take It With You earned several Academy Awards, including Best Picture and Best Director (Capra's third Oscar). ~ Hal Erickson, All Movie Guide

Based on the 1935 Broadway play by George S. Kaufman and Katharine Dayton, First Lady is not, as might be assumed, the story of the first woman president. The central character, played by Kay Francis, is the granddaughter of a president (though clearly inspired by Teddy Roosevelt's daughter Alice). Ms. Francis is married to Secretary of State Preston S. Foster, whom she hopes to propel into the White House. Her principal rival is the wife (Veree Teasdale) of a mildly corrupt supreme court justice (Walter Connolly). The rival is planning to divorce her husband and promote her own, younger presidential aspirant (Victor Jory). Kay retaliates by mounting a mock campaign for the befuddled justice--which snowballs into the real thing. ~ Hal Erickson, All Movie Guide

Adapted from the Edna Ferber and George S. Kaufman play, Stage Door is a comedic portrait of the theatrical community in New York. Katharine Hepburn stars as Terry Randall a young woman who comes from a wealthy, socially connected family. Aspiring for a career on the stage, Terry opts to see if she can make it on her own gumption and moves into a boarding house with several other wannabe Broadway starlets attempting to make a mark for themselves in show business. Terry's sassy roommate Jean (Ginger Rogers) just might get the opportunity to do that when she meets a lecherous producer, but at what cost? Unamused by Terry's attempts to pull herself up by her bootstraps, her father offers her an opportunity for a starring role in a show that's sure to fail. Lucille Ball, Eve Arden, and Ann Miller are among the other residents of the boarding house. ~ Matthew Tobey, All Movie Guide

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere. ~ Hal Erickson, All Movie Guide