Best Movies by Farr

For His Upcoming Birthday, the Top Ten Cary Grant Movies by Farr

Next week marks the 108th anniversary of Cary Grant's birth.

Have people forgotten Cary Grant? He's been gone a quarter of a century now, and his last movie was made forty-five years ago.

Personally, I don't believe so. He was too good, too much of an original to fade away from our collective consciousness.

What made him so special?

For one thing, he managed to appeal in equal measure to both men and women: women for all the evident reasons, men because he flew in the face of conventional wisdom. Though possessed of an almost feminine beauty and grace, he still managed to project masculinity, brains, and most importantly, humor.

When an interviewer gushed to the star that everyone wanted to be Cary Grant, he famously replied, "So would I." This seemingly off-hand remark spoke volumes, for the Cary Grant persona was painstakingly developed and refined by a mortal man with his own fair share of foibles, fears and weaknesses.

It's easy to forget (if you even knew in the first place) that this personification of suave elegance endured a miserable lower middle class upbringing in Bristol, England as Archie Leach, the son of a mentally unstable mother and a father who first had his wife committed and then deserted the family.

Archie found salvation -- literally -- by joining the circus, where his natural athleticism made him a skilled tumbler and acrobat. A first tantalizing taste of performing before crowds would eventually lead him to the stage, and eventually, Hollywood.

As great as he was, in his time people sensed he was always playing Cary Grant, and for this he was marginalized slightly, never winning an Oscar over a thirty-five year career.

Of course, Oscar has most always lacked a funny bone, so humorous films have often received short shrift in the nominations. This is, of course, ridiculous, since comedies are the most difficult form to bring off successfully.

As to Grant not winning an Oscar, the sheer talent it took to play Cary Grant -- particularly in his great comedies -- cannot be underestimated; the plain truth is that he was totally unique.

How could anyone so perfect -- with full ten ratings on looks, style, and charm -- also be so approachable? Though blessed with a virtually flawless appearance, he was never arrogant or remote. His innate decency and charm always managed to penetrate the surface gloss. That's why we loved him.

The following ten films represent my top ten "desert island" Cary Grant picks. In anticipation of sampling some of these ageless features, let's wish Archie Leach a happy birthday, and thank him profusely for giving us Cary Grant, a character who will remain forever young, vital and real.

Topper (1937) -- George and Marion Kirby (Grant and Constance Bennett) have it all: they're rich, attractive and glamorous -- that is, until they're killed when driving their roadster too fast. Now bona-fide ghosts, the couple have one final errand to do before going to their eternal rest: help their stifled, hen-pecked banker Cosmo Topper (Roland Young) get more out of life -- while he's still living! This uproarious comedy was another step to super-stardom for Cary, who first showed his comic chops here. Bennett (older sister of Joan) is the essence of high-toned beauty as wife Marion. Young is also memorable as the put-upon Cosmo, a man who must cope not only with a rigid, controlling wife (Billie Burke) but a couple of goofy, upper crust specters who keep turning his well-ordered world upside down.

The Awful Truth(1937) -- Grant and the sublime Irene Dunne play Jerry and Lucy Warriner, a wealthy young couple who temporarily drift apart and impulsively initiate divorce proceedings. Both are unwilling to admit the obvious fact that they're still in love. Their eventual rapprochement becomes one delightful, hilarious dance. Director Leo McCarey was a genius with comedy, and this consistently sharp, side-splitting picture proves it. When Lucy starts an ill-advised rebound relationship with a rich oil rube from Oklahoma (wonderfully played by Ralph Bellamy) Jerry starts popping in even more often to embarrass his former spouse. Predictably, a good bit of the time he ends up embarrassing himself. This underexposed classic hasn't aged a day since its release.

Bringing Up Baby (1938) -- Paleontologist David Huxley (Grant) leads a quiet, studious life. Then, quite by accident he runs into daffy heiress Susan Vance (Katharine Hepburn) who quickly takes a shine to the handsome, bespectacled scientist. Used to getting what she wants, Susan simply won't let David go. Before long, Huxley's life gets turned upside down, as Susan kidnaps him to her starchy aunt's Connecticut estate, along with her explorer brother's recently arrived present, a tame leopard called "Baby." The mayhem escalates from there. Howard Hawks's quintessential screwball outing remains one of our most riotous and inspired screen comedies. Grant and Hepburn are in fabulous form, with Grant wholly convincing as the nerdy, befuddled victim, and Kate on fire as a flaky but determined lass who's finally found true love, and intends to hold on, come what may.

Only Angels Have Wings (1939) -- The riveting Angel centers on one Geoff Carter (Grant) operator of an airfreight service in South America's fog-enshrouded Andes Mountains. Often confronting treacherous flying conditions, Geoff must make life-or-death decisions about when his men can fly. Further complicating life on the ground is the arrival of Bonnie Lee (Jean Arthur) a showgirl in transit who's socked in by weather, and Macpherson (Richard Barthelmess) a pilot harboring a dark secret. Macpherson is also joined by his young wife Judy (Rita Hayworth) who, it turns out, had once been involved with Geoff. The plot thickens along with the fog. Elements of drama and romance comingle with the serious business of men being men in this involving, exciting adventure story. Grant stretches his screen persona effortlessly as a tough guy with little humor and no polish, and Arthur makes a spunky love interest. Young Hayworth is also stunning in a breakthrough role.

His Girl Friday (1940) -- Sneaky, slimy newspaper editor Walter Burns (Grant) will do anything to prevent his best reporter Hildy Johnson (Rosalind Russell) from leaving the paper for a dull marriage to the chronically normal Bruce Baldwin (Ralph Bellamy). As fate would have it, the year's biggest story is breaking, as a condemned killer breaks out of jail, and even Hildy can't resist the lure of the scoop. Will Walter's nefarious scheming prevent Hildy from reaching the altar? Director Howard Hawks teams with Grant again to create what may be the fastest film comedy ever. A remake of The Front Page, this version's inspired plot twist is that Hildy is a female reporter, formerly wed to loveable scoundrel Burns. The conceit works, as underneath Walter and Hildy's scathing, rapid-fire repartee we sense a strong (though somewhat twisted) animal attraction. Both Grant and Russell are in top form, and all we have to do is keep up with them. A rip-roaring good time, from start to finish.

The Philadelphia Story (1940) -- Haughty Philadelphia socialite Tracy Lord (Katharine Hepburn) is engaged to marry self-made, upstanding George Kittredge (John Howard) after divorcing her wealthy, careless first spouse, C.K. Dexter-Haven (Grant). C.K shows up for the event with no hard feelings, along with society reporter/frustrated novelist Macaulay "Mike" Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey). What transpires next is a peerless comedy of errors, where, thankfully, everything comes out right in the end. George Cukor's pitch-perfect adaptation of Philip Barry's hit play marked a triumphant Hollywood comeback for Kate (having earlier been labeled "box-office poison" by exhibitors) and an Oscar-winning vehicle for up-and-coming star James Stewart, wonderful as a fish out of water in high society. Though overlooked by the Academy, Grant is every bit as good as the raffish C.K., while Hepburn shines in what may be her signature role. Don't miss Roland Young's hilarious turn as naughty Uncle Willie. Sly and sophisticated, this title stands as one of our finest screen comedies.

Notorious (1946) -- American intelligence officers tracking Nazis in post-war South America coerce Alicia Hubermann (Ingrid Bergman) daughter of an executed Nazi spy, to use her feminine wiles to implicate more of her father's colleagues, including one Alex Sebastian (Claude Rains). Before the assignment is disclosed; however, American agent Devlin (Grant) and Alicia have already begun a passionate romance, complicating matters going forward. Notorious still delivers outstanding suspense, with director Alfred Hitchcock at his most subtle. The story of a fallen woman-first redeemed by love, then put in peril is gripping throughout, and stars Grant and Bergman emit powerful on-screen chemistry. Acting laurels also go to supporting player Rains, who's never been slimier than here, playing a Nazi agent. But then, just look at his friends -- and that mother!

To Catch A Thief (1955) -- On the sun-drenched French Riviera, someone is relieving rich women of their precious jewels, and all the evidence points to retired cat burglar John Robie (Grant). Reluctant to sit still for questioning, "The Cat" evades investigators who show up at his luxe villa and -- with the help of London insurer H.H. Hughson (John Williams) -- cozies up to wealthy American widow Mrs. Stevens (Jesse Royce Landis) who he believes may be the thief's next victim. Robie's only hope for clearing himself will be to expose his imitator, that is if Mrs. Stevens' knockout daughter Francie (Grace Kelly) doesn't distract him too much! Filmed in VistaVision by Oscar winner Robert Burks, Alfred Hitchcock's swanky, breezy suspense film takes a simple idea -- one cat burglar on the tail of another -- and spins it into cinematic gold. With his customary wit and sexual innuendo, the director positions tanned star Grant on a collision course with the resplendent Kelly, who never looked more ravishing as spoiled heiress Francie, especially in a wide-brimmed white sun hat and bathing outfit Jackie O might have coveted. When they kiss, there are literally fireworks on-screen, a technique Hitch used to keep the censors from snipping his film. You'll have a lot of fun catching this "Thief."

North By Northwest (1959) -- By chance, martini-swilling ad man Roger Thornhill (Grant) is mistaken for a top spy, and set up for murder. He then finds himself in the unfamiliar position of fugitive, crisscrossing the country in search of the real culprit, his only chance of survival. Along the way, he meet the beautiful but mysterious Eve Kendall (Eva Marie-Saint) who wants to help him. But is she who or what she seems? Fifty years after release, Northwest still provides kinetic, colorful entertainment for the whole family, full of director Hitchcock's trademark twists and turns. Only Cary could undertake such a rugged and dangerous journey and keep looking marvelous with no change of clothes. Marie-Saint is appropriately enigmatic and alluring as the icy blonde who may or may not be in his corner. James Mason's treacherous turn as cold-blooded enemy agent Philip Vandamm also stays etched in your memory.

Charade (1963) -- Parisian Regina Lampert (Audrey Hepburn) knew she had marital problems, but when her errant husband gets mysteriously killed, she finds being a widow even more troublesome. It seems her spouse was involved in hijacking some significant loot during the war, and now some of his past comrades want to know where the money went. H. Bartholemew (Walter Matthau) is the government agent also interested in the case, and suave Peter Joshua (Grant) the gallant older man who serves as Regina's protector. But is Peter really on Regina's side? This Hitchcock homage provides a last glimpse of Cary as leading man. At sixty, the actor still brings off his trademark persona superbly. Hepburn is also in top form as the put upon damsel in distress. Deftly combining mystery, romance, and humor, director Stanley Donen creates a chic, sophisticated mood via gorgeous Paris locations and a smooth Henry Mancini score. The supporting cast shines as well, with James Coburn and George Kennedy standing out among the heavies. As top-drawer entertainment, Charade is the real thing.

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They Belong In Every Home: The Best Holiday Movies By Farr

Below you'll find the movies that, to my mind, best capture the essence of Christmas, year in and year out. These titles seem particularly fitting now, as we see the rampant consumerism of recent years yield to the fundamentals of the holiday - as a special time for family and friends to come together and give thanks. The values and emotions imparted in these timeless films are sure to stoke the spirit of "Peace On Earth, Good Will Towards Men" (and Women).

Holiday Inn (1942) - Don't miss this funny, festive Bing Crosby/Fred Astaire musical about two friends who launch an inn open only on holidays. The film is best known for first introducing "White Christmas", the best-selling single of all time, and an instant favorite with troops then overseas. "Inn" remains consistently tuneful and entertaining, with a sublime Irving Berlin score that covers not just Christmas, but all major holidays. And Astaire and Crosby make a winning team. (For the record, I prefer this Crosby feature to the overbaked, oversaturated "White Christmas", released twelve years later.)

It's A Wonderful Life (1946) - A heartwarming holiday treat, Frank Capra's masterful handling of the bittersweet storyline-in which one George Bailey (James Stewart) sacrifices his own dreams to save the family savings-and-loan business and keep his hometown of Bedford Falls out of the greedy paws of a heartless banker-is pure Hollywood magic. Donna Reed (as Bailey's wife, Mary) and Lionel Barrymore (as the banker) give exceptional performances, but Stewart is the dynamic, all-too-human force holding it all together.

Miracle On 34th Street (1947) - Was there ever a better big-screen Santa than Oscar-winner Edmund Gwenn? This delightful fable about an elderly retiree turned Macy's Santa who sets New York a-twitter with his claim to be the real article gets at the heart of the question: if we humans can no longer believe in things we may not understand, what exactly is the point of Christmas? Look for a cute, young Natalie Wood as a disbelieving young girl Gwenn's Kris Kringle converts.

The Bishop's Wife (1947) - Cary Grant portrays Dudley, the suavest of angels who visits Earth at holiday time to set a certain bishop's priorities straight. Co-starring David Niven as the bishop and a dazzling Loretta Young as the title character, this joyful, witty film still has something to say about keeping the spirit of Christmas alive all year round. And Cary was never better.

Scrooge (1950) - Based on Charles Dickens's most widely read and enduring story, this definitive 1951 British version outdoes all others for atmosphere and characterization. The incomparable Alastair Sim, a gifted actor who seamlessly inhabits the title role, makes you feel there could be no other Scrooge. The film runs just eighty-five minutes, yet delivers the story's full impact, with Sim's droopy eyes projecting all of Scrooge's terror, shame, and regret.

The Apartment (1960) - Peerless Billy Wilder feature about C.C. Baxter (Jack Lemmon), an insurance man climbing the corporate ladder by lending out his bachelor pad for his bosses' assignations. Baxter falls for elevator girl Fran (Shirley MacLaine), but she's still involved in a messy romance going nowhere. Unhappy circumstances draw Fran into Baxter's orbit over the holidays. Will love blossom between these two lost souls? We find out by New Year's, in this poignant tale of loneliness and love.

The Homecoming (1971) - This was the wildly successful TV movie that spawned "The Waltons" TV series. On a Christmas Eve during the Depression, Olivia Walton (Patricia Neal) and her large brood wait anxiously for patriarch John, who's been forced to take a job far from home. With inclement weather making roads impassable, will he make it home for Christmas? The simple, touching "Homecoming" underlines the importance of family love and solidarity over material possessions. Neal is superb.

The House Without A Christmas Tree (1972) - Director Paul Bogart's deceptively unadorned story, adapted from Gail Rock's autobiographical book, involves one transformative Christmas in the 1940's. Precocious Addie (Lisa Lucas) badly wants a Christmas tree, but for James, her widower Dad (Jason Robards), such beauty only brings back his lost wife and past holidays he feels he must forget. He sternly forbids a tree in the house, but underestimates Addie's determination and cunning. See this one for Robards, one of the most powerful actors of his time.

A Christmas Story (1983) - An irresistible, often hilarious 40's-era holiday tale about young Ralphie Parker (Peter Billingsley), growing up in a loving but eccentric family, and his obsession with getting a very special air-gun for Christmas. Initially, his parents (Darren McGavin and Melinda Dillon) supply precious little hope. Will Ralphie's desperate yearning wear them down in the end? Based on a Jean Shepherd short story, the movie benefits from an immense heart, rich period detail and quirky comic characters.

A Child's Christmas In Wales (1987) - Spending Christmas with his daughter's family, a grandfather (Denholm Elliott) reminisces with his enraptured grandson Thomas about his own boyhood holiday memories in Wales. Inspired by a Dylan Thomas poem, Don McBrearty's lyrical, heartwarming "A Child's Christmas" is a simple, one-of-a kind piece originally produced for public television. Some of the language may be lost on the little ones, but the movie exudes so much charm and Yuletide spirit that it really won't matter.

Note: See this piece at The Huffington Post: They Belong In Every Home: The Best Holiday Movies By Farr.

Huffington Post: The Best Depression-Era Comedies By Farr

As we confront an uncertain and bewildering economic downturn, it's instructive to look back at the factors that sustained the public through the truly desperate conditions brought on by The Great Depression.

Part of what differentiates that period from any fiscal downturn since is the lack of safeguards then in place to blunt the impact of sudden joblessness and destitution. The safety nets that have existed since, while hardly ideal, have helped, but they were only created in response to that unprecedented crisis that began close to eighty years ago.

Stories abound of the fallout from that first shocking collapse: Wall Street millionaires turned penniless hurled themselves out of office windows or simply put a gun to their head. But most Americans, of course, survived. How did they manage it?

Believe it or not, movies contributed...more than one might guess. But it wasn't simply the intrinsic nature of motion pictures that accounted for this palliative effect. It was a savvy Hollywood that responded to challenging times by recognizing what a transformed public would want to see and leveraging the full might of the studio system to provide it.

Entering the '30s, the film industry itself was in a precarious place. Just as Black Tuesday hit, the business was in massive flux converting from silent films to sound. Careers had ended and been launched virtually overnight, and Hollywood was investing heavily in sound technology, focusing feverishly on making the new technology work better so that "talkies" could reach their full potential.

There was no guarantee that movies would survive in this new environment. In fact, conventional wisdom held that filmed entertainment was a luxury that few could or would be able to access. The moguls then decided that the best possibility for success was to make movies literally indispensible to people's lives and well-being. First, they would move heaven and earth to get the public back in theatres, offering another free plate for their plate set with each theatre visit, and giving them a whole string of entertainment to make their experience richer and more varied: cartoons, newsreels, serials or "B" film entries, and finally, the "featured attraction".

Doubtless all the extra inducements, both on- and off-screen, helped boost initial ticket sales, but primarily what made people skip meals to go back to the movies again and again had more to do with the main features- known as the "A" pictures.

Hollywood knew that the most precious commodity for the times was escape, and they were in a unique position to deliver it via their best films. Such productions were intended to boost industry prestige, as well as serve as a tonic for battered souls in dire need of some laughter and reassurance. These movies showcased the talented and glamorous stars which the studios shaped and groomed so assiduously, and employed the talents of the finest directors, writers and craftsmen then under contract.

So if the public had to survive without all the good things money could buy, at least they could live vicariously through on-screen characters that did possess them. They'd laugh at the absurdity of the leisure class and their contrived, shallow problems, while also drinking in their heady style and sophistication. Having done so, they would emerge from the theatre with enough renewed hope to get them through one more week of grim reality.

Thus was born the screwball comedy- a form very much of its time, as more recent attempts to recreate it have almost invariably fallen flat. Yet the best screwballs also remain timeless, as fresh and clever today as they were on release.

Following in chronological order are my own selections for top screwball entries from the 1930's:

Trouble In Paradise (1932) - Parisian jewel thieves Gaston (Herbert Marshall) and Lily (Miriam Hopkins) fall in love over dinner-trying to pick each other's pockets. With a wealthy widow, Mme. Colet (Kay Francis), as their latest mark, they craftily install themselves as her secretary and typist, respectively. But things get complicated when Gaston must pretend to fall for the beautiful heiress (or is he pretending?), and she returns the compliment. German-born director Ernst Lubitsch specialized in soufflé-light, sophisticated comedies that poked sly fun at conventional mores. "Trouble" is one of his best outings, cheerily touting the marvels of sex and riches. Along with the rarefied atmosphere, the snappy dialogue and witty ripostes exemplify what came to be called "The Lubitsch Touch." If you like your chuckles with a touch of class, here's your movie.

Twentieth Century (1934) - Broadway producer Oscar Jaffe (John Barrymore) creates a star in the beautiful Lily Garland (Carole Lombard), then alienates her, ultimately causing a decline in his own fortunes. He happens upon Lily (now embarked on a successful Hollywood career) on the luxurious Twentieth Century Limited train, and while she is a captive audience, attempts to woo her back into the Jaffe fold. Don't pass up this opportunity to see Barrymore in his funniest performance as the histrionic Jaffe. Meanwhile, Lombard is leading lady gorgeous, but also exhibits her trademark comic flair in the ripe role of Lily. The screenplay, by partners Charles MacArthur and Ben Hecht, moves as fast as that train. By all means, get on-board!

It Happened One Night (1934) - Ellie Andrews (Claudette Colbert), a mixed-up heiress, hits the road incognito to escape a loveless impending marriage and a chronically over-protective father (Walter Connolly). Riding with the common folk on a bus, she meets reporter Peter Warne (Clark Gable), who grudgingly befriends this unusual creature, who appears curiously oblivious to the ways and customs of real life. When Peter discovers her true identity, he knows he's got hold of the story of the century, but by this time, he's also started to have feelings for Ellie. What's a smitten newsman to do? Frank Capra's sublime romantic comedy swept the 1934 Oscars, and it's still easy to understand why. Few seventy-five year old movies hold up like this one. Colbert makes a winning, deft comedienne (check out that hitch-hiking scene!), and Gable was never more natural and appealing, winning his only Oscar for this role. The scene where Peter takes off his shirt and exposes his bare chest was a first, and reportedly, sounded a death knell for the undershirt industry. Hail to the walls of Jericho!

My Man Godfrey (1936) - Through a charity contest only the idle rich could invent, a daffy family chooses a forgotten man from skid row to become the new butler in their chaotic household. Younger daughter Irene (Carole Lombard) proceeds to fall in love with him. However, Godfrey (William Powell), the object of her affections, is not precisely who or what he seems. Gregory La Cava's sublime comedy blends screwball elements with more serious overtones on Depression-era class injustice, to create a wildly entertaining yet thought-provoking movie that holds up beautifully. The term "debonair" must have been coined for Powell, and Lombard makes for an adorable ditz. (Trivia note: the two stars had been married briefly several years earlier, but had divorced amicably). Highlights: comic actor Mischa Auer as Mrs. Bullock's "protégé", along with the rotund Eugene Pallette as Mr. Bullock, the family's frustrated industrialist father, who appears more like an impotent keeper at an asylum.

Libeled Lady (1936) - The ever-smooth William Powell returns as Bill Chandler, a freelance journalist hired by his old newspaper to squelch a libel suit brought by society heiress Connie Allenbury (Myrna Loy). To do this, Bill must make Connie fall for him and then place her in a compromising position. Ultimately, he melts her icy exterior, but ends up falling in love himself. What's yet another smitten newsman to do? Nominated for a Best Picture Oscar in 1936, Jack Conway's underexposed gem is a raucous farce buzzing with zany humor, thanks to a flurry of impeccable one-liners delivered by Powell and Loy, reunited from their first pairing in "The Thin Man." Playing Haggerty, the newspaper's frantic editor, and Gladys, his continually jilted fiancée, Spencer Tracy and Jean Harlow round out a stellar foursome in this fast-paced, ingenious laugh-fest.

Topper (1937) - George and Marion Kirby (Cary Grant and Constance Bennett) seem to have it all: they're rich, attractive, and live the high life- that is, until they're killed when driving their roadster a bit too fast. Now bona-fide ghosts, it seems the couple have one final errand to do before going to their eternal rest: help their stifled, hen-pecked banker Cosmo Topper (Roland Young) get more out of life-while he's still living! This uproarious comedy represented another crucial step to super-stardom for Cary Grant, who proves himself a gifted comic player as well as handsome leading man. Bennett (older sister of Joan) is the essence of high-toned style and effervescent charm as wife Marion. Still the revelation is Young, who proves a consistent delight as the put-upon Cosmo, a man who must cope not only with a rigid, controlling wife (Billie Burke), but a couple of goofy, upper crust specters who keep turning his well-ordered world upside down.

Easy Living (1937) - Frustrated with his wife's spending habits, financier J.B. Ball (Edward Arnold) throws his wife's new $58,000 sable coat out of the window, where it alights on the shoulders of working-girl Mary Smith (Jean Arthur), who's riding to the office on a double-decker bus. When she tries to return the coat, the blustering "Bull of Broad Street" indulges her with a new hat and a ride to work, unwittingly opening the door to a world of instant fortune--and a heap of personal troubles. The great Preston Sturges penned this farcical, rags-to-riches romance, in which an innocent secretary is assumed by her snitty coworkers and a hotelier to be the mistress of an older, married tycoon. As always with a Sturges picture, this is only the beginning of delightfully nutty entanglements, and director Mitchell Leisen's light touch with the script allows the future director's comic vision to unfold without a hitch. A young Ray Milland also shines as Ball's independent- minded son, who becomes Mary's bumbling love interest.

The Awful Truth (1937) - Cary Grant and Irene Dunne play Jerry and Lucy Warriner, a wealthy young couple who temporarily drift apart, stray and finally, initiate divorce proceedings. Both are unwilling to admit the obvious fact that they're still in love. Their eventual rapprochement becomes one delightful, often hilarious dance. Director Leo McCarey was considered a comedic genius, and this consistently sharp, side-splitting picture supports that claim. The film cemented the reputations of both Grant and Dunne as gifted comic players with superb timing. Ralph Bellamy also stands out in the thankless role of the other man opposite Grant, a part he would assume again in the classic "His Girl Friday" several years later. Finally, look for the pooch who plays the Warriners' pet, Mr. Smith. He is none other than Skippy, who played Asta in "The Thin Man" and George in "Bringing Up Baby".

Bringing Up Baby (1938) - Paleontologist David Huxley (Cary Grant) leads a quiet, studious life, and is engaged to a proper, like-minded young woman. Then, quite by accident he runs into dizzy heiress Susan Vance (Katharine Hepburn), who immediately takes a shine to the handsome, bespectacled scientist. Used to getting just what she wants, Susan simply won't let David go. Before long, Huxley's life gets turned upside down, as Susan kidnaps him to her starchy aunt's Connecticut estate, along with her explorer brother's recently arrived present, a tame leopard called "Baby". The comic mayhem escalates from there. Howard Hawks's quintessential screwball outing remains one of our most riotous and inspired screen comedies. Grant and Hepburn (who'd do "The Philadelphia Story" two years later) are in fabulous form, with Grant wholly convincing as the nerdy, befuddled victim, and Kate on fire as a flaky but determined lass who's finally found true love, and intends to hold on, come what may. This "Baby" is fun, fast and oh-so-funny.

Midnight (1939) - Arriving at midnight in Paris without a penny to her name, American showgirl Eve Peabody (Claudette Colbert) meets Hungarian cabbie Tibor (Don Ameche), who takes an instant shine to this beauty in gold lame. Eve has other plans, though, and ditches Tibor to crash a Parisian high-society party, using his exotic-sounding surname. There, the "Baroness Czerny" meets aristocrat George Flammarion (John Barrymore), who, once he learns of Eve's clever disguise, makes her an irresistible proposition. Colbert was never better than in this inspired comedy directed by Mitchell Leisen, which has lost none of its punchy wit or saucy flair with time. That has a lot to do with the cheeky script by Billy Wilder and Charles Brackett, who keep things delightfully ripe with the threat of Eve's exposure: Barrymore lures her to Versailles, where her job is to distract Jacques Picot (Francis Lederer), playboy lover of his wife, Helene (Mary Astor). When Ameche shows up in pursuit of Colbert, the fun really begins. The impeccable plotting and cynical banter will keep you in stitches.

Revisiting this impressive and enduring movie legacy inevitably begs the question: will Hollywood again raise their sights and put out some first-rate comedies to help us weather this latest mess? Considering the structure of the industry today and the quality of their recent output, I wouldn't bet on it--but how I would love to be proven wrong!

Note: See this piece at The Huffington Post: The Best Depression-Era Comedies By Farr.