A woman is relieved to learn she is not dying of radium poisoning as earlier assumed, but when she meets a reporter looking for a story about a young girl braving terminal illness, she feigns sickness again for her own profit.
William A. Wellman
In the depths of the Depression, a party game brings dizzy socialite Irene Bullock to the city dump where she meets Godfrey, a derelict, and ends by hiring him as family butler. He finds the Bullocks to be the epitome of idle rich, and nutty as the proverbial fruitcake. Soon, the dramatizing Irene is in love with her 'protege'...who feels strongly that a romance between servant and employer is out of place, regardless of that servant's mysterious past... Written by
Rod Crawford <email@example.com>
In production during the most volatile period in Universal's long history. The studio was reeling from the recent costly flop, Sutter's Gold (1936) and was banking heavily on the success of Show Boat (1936), which would experience production delays and cost Carl Laemmle his studio. Despite the relatively economical cost of Godfrey (under $700,000) it was released too late to benefit Laemmle and the new owners were able to capitalize on both it and Show Boat's revenues to finance a much cheaper and scaled back 1937 production roster. The "new" Universal wouldn't produce another true A-list film until 1939 (with Son of Frankenstein (1939) and Destry Rides Again (1939)) and would only survive by the singular popularity of its one major star, Deanna Durbin until the arrival of Abbott and Costello in 1941. See more »
After Cornelia's necklace supposedly disappears, three police officers are at the Bullock home to investigate. Minutes later, only two of them are shown leaving. See more »
My ancestors came over on the boat. Oh, not the Mayflower, but the boat after that. What did your ancestors come over on, Godfrey?
As far as I know, they've always been here.
They weren't Indians, I hope.
One can never be sure of one's ancestors.
You know, you have rather high cheek bones...
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The opening credits features a darkened city skyline and the names of the cast and crew appear as the camera pans across lighted billboards and neon signs. See more »
I don't want to be one of those "they don't make 'em like they used to" people, but I just can't help it when it comes to comedy. We've lost that talent completely, it seems. I can't think of any really great comedies of the past ten years. The golden age for film comedy was the mid 1930s to the mid 1940s (at least for the talkies; silent comedies were a totally different art form). This is also the period of the screwball comedy. My Man Godfrey was one of the first screwball comedies. Films such as Bringing Up Baby and The Lady Eve perfected the form, but My Man Godfrey is nearly as perfect. It isn't quite as funny as Bringing Up Baby nor is it as emotionally resonant as The Lady Eve, but it is funny, it has depression era social commentary (its main theme is identical to Preston Sturges' Sullivan's Travels, beating it by 6 years), and the script is marvelous. The finale is as good as any other comic finale, including the last scene of Some Like it Hot.
The actors are also in top form. William Powell is the straight man, and he plays it very well. All the rest are as nutty as ever. Carole Lombard probably gives her greatest performance here (I suppose I shouldn't say that since I've only seen her in one other film; I can only guess at this since it is one of the funniest performances of film history). Gail Patrick is perfectly devious as Lombard's conniving sister. Eugene Pallette is great as their father. Alice Brady, though, steals the show as their mother, a total fruit cake whose protoge, Carlo (Mischa Auer) does nothing but eat the household's food and pound the same couple of notes on their piano. And look for cameos by MGM regulars Franklin Pangborn and Grady Sutton. 10/10
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