The Worst Film Ever

Sadly Over-hyped

There are women in the film, but none has anything you could call a personality.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Let's face it, if viewers are not at least acquainted in some way with the socio-historical context that inspired Hart and Kaufman's classic play (and William Keighley's film), they are going to find it slightly difficult to understand.If we are not aware that Sheridan Whiteside (Monty Woolley) is an affectionate parody of Alexander Woollcott, at the time a national celebrity due to his radio program, then we will not really understand just what a monster he actually is; the former doyen of the Algonquin Round Table group who took malicious pleasure in insulting everyone just for the sake of it. George S. Kaufman, another member of that Round Table, uses Whiteside both to criticize yet celebrate Woolcott's monstrosity.Likewise we need to understand how Reginald Gardiner's Beverley Carlton is a parody of Noel Coward: another member of the Round Table, he had become a star on both sides of the Atlantic, as well as the epitome of the rather effete English upper class twit. Gardiner is asked to play that role in Keighley's film, and very funny he is too.Banjo (Jimmy Durante) was apparently baaed on Harpo Marx: not much of Harpo's qualities emerge in Durante's performance, but instead we see Schnozzle emoting at all throttle, having the chance to jingle away at the piano keys as well as providing one of the main means by which the complicated plot can be wrapped up.There is a story of sorts, but in truth Keighley's film is something of a showcase for the talents of actors performing against type. Bette davis's Maggie Cutler is strangely muted, as she tries and mostly succeeds to put up with Sheridan's whims, while the grande dame role (that Davis customarily played) is here given to Ann Sheridan. Sheridan grasps the opportunity with both hands, offering a series of stylized cameo performances - appropriate to her belief in herself as a "great actress" - reminiscent of Margo Channing in ALL ABOUT EYE (1950).Apparently Davis was not entirely satisfied with the casting of Woolley in the central role. Yet perhaps that latent antagonism helped the film rather than hindered it - although professing enduring respect for the celebrity, Maggie holds his whims in infinite contempt. As a former Yale University academic, Woolley approaches the role of Whiteside with the same kind of bravura energy that he might have done had he been lecturing first year undergrads. He is so firmly convinced of his own rightness that he remains utterly imperious to anyone else's feelings.THE MAN WHO CAME TO DINNER might be a period-piece, but is nonetheless a very funny one.

If you enjoy a 1940s style comedy full of delicious sarcastic wit delivered by a most obnoxious character, then The Man Who Came to Dinner is the film for you. Monty Woolley plays Sheridan Whiteside to the hilt, a character who is the most arrogant, conceited, imperious, self-centered man who causes complete chaos to everyone who crosses his path. The ever brilliant Bette Davis is superb as his devoted, long-suffering secretary who finally finds true love. This film is rich with superb actors and actresses of the day including Billie Burke, Jimmy Durante, Ann Sheridan, Richard Travis, Reginald Gardiner, and Mary Wickes all performing their parts finely to keep the comic antics moving perfectly. Their are many good synopsis already written for this film, so I will add that although the film and it's humorous wit are a perfect representation for the time, which I thoroughly enjoyed, I highly suggest the reader to watch this film and be their own judge.

Some supposed great films of their time (in this case, the late 30s/early 40s) find fame and reputation. It might even last a decade or two, but in this case this appalling unfunny film should be put into the window seat cavity in (the genuinely funny) ARSENIC AND OLD LACE. The main character Sheridan Whiteside, as played by blustering queen Monty Woolley is utterly tiresome by the third 'hilarious blistering insult', all of which are over worded and each of which are just ridiculous and stupid. If this film is written to be a farce then it succeeds. But it is also just plain mean spirited. Yes Whiteside is supposed to be that but he is so repulsive and abrasive for 100 minutes that had I lived in that house I would have gladly tossed him into the street and happily paid the consequences. THE MAN WHO CAME TO DINNER has not dated well and the film now would provoke curiosity only in bewilderment as audiences ask 'is this supposed to be funny? This guy is a prick'.

What a great disappointment this famous film turned out to be when I finally sat down to watch the DVD.In spite of its impressive literary pedigree, remarkable cast and fine production values, it tries much too hard to be funny and likable. Maybe it's because I am British and not American that to me, this frantic farce seemed so desperately unfunny?The main problem is with the central performance by Monty Woolley who may have been terrific in the stage version but whose 'hit the audience over the head' style doesn't really work on film. Every time he is about to deliver another bon mot, he draws himself up and tells us "Get ready!" before he even opens his mouth. His delivery is also less than crisp and he often gabbles his lines. Originally Bette Davis hoped for John Barrymore in the role and it is a great pity that, by 1941, the Great Profile was an alcoholic wreck unable to memorise dialogue or withstand the frenetic demands of such a production. In his heyday, he would have eaten this up, and brought a manic quality to the role (think of his Oscar Jaffe in Twentieth Century, a part not dissimilar to Whiteside) He would also have been much more likable. The rest of the cast are interesting, especially Davis who impresses by being able to suppress her familiar mannerisms and bring a presence to her scenes. However it was hardly a convincing romance between Davis and the colourless Mr Travis (another dull actor that Warners had high hopes for, similar to the vacuous Michael North a few years later).Ann Sheridan does her best but seems out of her depth. Reginald Gardiner makes the most of his cameo as a Coward clone (though I was sorry that Cole Porter's song written for the stage version was dropped). Billie Burke reprises her usual dizzy matron act, and Grant Mitchell does his usual flustered, pompous father.In spite of the gloss, the film irritates and tries far too hard, and the one-liners - though coming thick and fast - are just not very funny. The original trailer (also on the DVD) interestingly makes much of the Davis-Sheridan rivalry and even the soppy romance with barely a mention of the main plot strand at all. It also contains scenes not in the finished film!No matter.This is a much over-rated film that does not bear repeated viewings.