Better than most people think

A Masterpiece!

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

With such a winning cast, who can go wrong with Don Ameche, Claudette Colbert, John Barrymore and Mary Astor, the brilliant Billy Wilder and Charles Brackett penning the script and a talented director, it was hard not to highly anticipate 'Midnight' with such a love for classic film. 'Midnight' turned out to be one of those films that met those expectations and even exceeded them, that cannot be said for many film viewings recently. Of all my recent viewings, and actually in a long way, 'Midnight' is easily up there in the top 5 of the most rewarding. It is a real shame that it is so overlooked today and it has nothing to do with quality, it's a fantastic film. To me, what struck me as the reason was timing, with it being released in the year that saw the releases of two of the biggest and most highly acclaimed films ever 'The Wizard of Oz' and 'Gone with the Wind' (two of my favourites as well). 'Midnight' is not quite on their level or scale, but although fondly remembered here it is deserving of more attention.It is beautifully made for starters, especially in the sumptuous costumes and photography that is so easy on the eyes. 'Midnight' is directed with a real eye for atmosphere and visual detail and with an ability to keep the story moving along. The music is never intrusive or too syrupy.A contender for the best asset of 'Midnight' is the script. The script here is brilliant in classic Wilder and Brackett fashion, sparkling and sizzling at every turn effortlessly and the best parts are truly hilarious. The story is filled with charm and sophistication, it is also stylish, impossible to dislike and never hard to follow.Cannot fault the cast either. Don Ameche oozes with charm and likeability in one of his best roles (to me at least), Claudette Colbert is luminous and with great comic timing and John Barrymore was never funnier and gives one of his best later performances. Mary Astor, Rex O'Malley and Hedda Hopper give classy support.Overall, a wonderful film deserving of more praise. 10/10 Bethany Cox

Some lists of screwball comedies include this 1939 film that stars Claudette Colbert, Don Ameche and John Barrymore. I think it's a bit iffy for that category – it lacks the long strings of crazy antics that define the top comedies considered "screwball." But regardless, this is a gem of a movie and wonderful comedy. I agree with the other reviewers who note the scene-steeling of John Barrymore. He made only four more films after this one before his death. "Midnight" is his last very good or great film. Colbert and Ameche are excellent in their roles as Eve Peabody (aka, the Baroness Czerny) and Tibor Czerny. Mary Astor, Francis Lederer and Rex O'Malley give very good performances in their roles. But the interplay between Barrymore's Georges Flammarion and Colbert's Eve is the stuff that makes for great comedy. I purchased this film for my library and the DVD had a nice introduction that explained the considerable difficulty in the making of the film. It was mostly about conflicts among directors and writers and with some actors. I appreciate and enjoy these inside looks at movie making from time to time. The fact that Barrymore could no longer remember his lines and had to use cue cards makes one appreciate that much more the great talent of this actor in performing his roles. John Barrymore was known for his great ad-libbing in films – that enhanced his roles of all genres. Of all the stage and screen Barrymores, John is the only one who didn't win major awards. Siblings Lionel and Ethel each won Oscars. His personal life was chaotic and his four marriages each lasted no more than a few years. Drinking took its toll and he died at age 60 from cirrhosis of the liver and pneumonia. According to biographers, Barrymore had a conversion and reverted to his Catholic faith before he died. Barrymore appeared in 65 films. He began in the silent era and continued his fame in sound films. More than half of his films were with sound. He was equally at home in comedy, drama and mysteries. All of his sound films are a treat to watch. He has to be on any list of the best actors of all time.

The term, "a comedy of manners", is much abused by film and literary critics who often pin this label on bucolic slapstick like The Egg and I (1947) or mismatched romantic formulas like Misleading Lady (1932). The true comedy of manners, like The Philadelphia Story for instance, is set almost exclusively in high society where the foibles of the idle rich who have nothing better to do than play marital games, come under the microscope.As it happens, I'm not a great fan of the comedy of manners. The idle pursuits of the idle rich do not greatly interest me. But there are exceptions – like this movie and the aforesaid Philadelphia Story – where the formula is broadened to include major characters like James Stewart's reporter in P.S. or Don Ameche's cab-driver in Midnight.The latter film also has the advantage of Claudette Colbert's lead character who, like Miss Colbert's lead character in the 1942 Palm Beach Story, doesn't really belong – although she makes a good try (and this fish out of water element serves as the basis for most of the satire and comedy).Most fortunately too, Midnight has a fine supporting cast led by John Barrymore (at his scene-stealing best) and Mary Astor. And right up almost to the end of the movie when Leisen allows Monty Woolley to hog the camera and bring this fast-paced movie to a screeching halt, it's directed at an admirably rapid clip too! You really need to have your ears and eyes fully attuned and your mind clear as a bell to follow the many delightful twists and turns of the plot.

This 1939 version of "Midnight" does not seem to be related to any of the other "Midnights" made in 1917, 1934, 1982, 1989, 2006. Claudette Colbert is the dolled up Eve Peabody, broke and looking for work in the rain. Along comes ever-so-friendly cab driver Tibor Czerny (Don Ameche), who goes out of this way to drive her around and help her find work. Also in here are John Barrymore, Mary Astor, Hedda Hopper, and Monty Woolley, all biggies in Hollywood. Note the cast list, which includes William Hopper, Hedda's son, as a party guest. Also Joyce Mathews, who was married to Milton Berle (twice !) In usual Billy Wilder style, there are elements of a chase, some moments of serious plot, and a whole lot of silly pratfalls that mostly end in good luck. When Eve sneaks into an evening party, pretending to be someone else, she meets up with Georges Flammarion (Barrymore) , who has a scheme going of his own, and he needs Eve's assistance. Rumor has it Barbara Stanwyck was originally going to star in this, and there are definitely similarities to Lady Eve, which would be released two years after Midnight by Preston Sturgess. Midnight also has a similar plot to The Bride Wore Red from 1937, where Joan Crawford sneaks into a weekend getaway with the uppercrust, but one of her own "friends" wants to save her before its too late. In our story, we keep flashing over to the cabbie Czerny (Ameche) who is still trying to track down Eve.... Who will she end up with, and will she be exposed as the fraud she is ? Fun, fast script, and it keeps the viewer enthralled. Colbert plays Eve just innocent enough to make us want her to succeed, even though she is doing some underhanded things. Fun to watch!