The stenographer Alice Sycamore is in love with her boss Tony Kirby, who is the vice-president of the powerful company owned by his greedy father Anthony P. Kirby. Kirby Sr. is dealing a monopoly in the trade of weapons, and needs to buy one last house in a twelve block area owned by Alice's grandparent Martin Vanderhof. However, Martin is the patriarch of an anarchic and eccentric family where the members do not care for money but for having fun and making friends. When Tony proposes Alice, she states that it would be mandatory to introduce her simple and lunatic family to the snobbish Kirbys, and Tone decides to visit Alice with his parents one day before the scheduled. There is an inevitable clash of classes and lifestyles, the Kirbys spurn the Sycamores and Alice breaks with Tony, changing the lives of the Kirby family. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Columbia paid $200,000 for the film rights to the play. See more »
When Alice is in the courtroom scene she is wearing a trench coat as newspaper photographers take pictures. In the newspaper pictures, she is not wearing the coat. See more »
[phone rings. Tony won't let go of Alice's hands]
You know, it's a strange sensation - I seem to hear ringing in my ears.
Me, too. And I thought for a moment it was the telephone.
Yeah. I hear voices, too. Voices that say, if you don't kiss her soon, you're a chump.
You know, if I were really clever, I could answer the phone without the use of my hands.
Saw it done in a circus once.
[Alice picks up receiver with her teeth]
Hey, wonderful, you'd be a sensation on the trapeze!
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For film-goers and movie fans that are from my generation, it is easy for these films to get lost in the shuffle. Ask someone my age, who would now be 25, what the best movie of all time is, they're likely to say Pulp Fiction or Fight Club.
Not to take away from today's movies, but for anyone who has not gone back and viewed classic Capra, such as "You Can't Take it With You," then they are truly missing out.
This movie is pure magic and beauty. Lionel Barrymore gives a performance as relevant in 2005 as it was in 1938. And what can you say about Jimmy Stewart?? This is a rare gem of a film and in true Capra fashion, the climactic final scene brings tear to the eye, much the same way as Harry Bailey's toast in "It's a Wonderful Life."
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