Popular and beautiful Fanny Trellis is forced into a loveless marriage with an older man, Jewish banker Job Skeffington, in order to save her beloved brother Trippy from an embezzlement charge, and predictable complications result.
A young woman (Stanley Timberlake) dumps her fiancée (Craig Fleming) and runs off with her sister's (Roy Timberlake) husband (Peter Kingsmill). They marry, settle in Baltimore, and Stanley ... See full summary »
Olivia de Havilland,
Lecturer Sheridan Whiteside slips on the ice on his way into the home of a prominent Ohio family. The local doctor says Whiteside must remain confined having broken his leg. He begins to meddle with the lives of everyone in the household and, once his plots are underway, learns there is nothing wrong with his leg. He bribes the doctor and resumes control of the household. Written by
Ed Stephan <email@example.com>
Bette Davis was unhappy with the casting of Monty Woolley, and in later years she observed, "I felt the film was not directed in a very imaginative way. For me it was not a happy film to make--that it was a success, of course, did make me happy. I guess I never got over my disappointment in not working with the great John Barrymore." See more »
At one point in the film, Maggie Cutler goes to the window and comments on the snow falling outside. The falling snow is clearly visible outside the window. Then the camera goes to a medium shot, with all the windows visible, but from this angle, no snow is seen to be falling whatsoever. See more »
After nearly 60 years, "The Man Who Came To Dinner" still ranks as the most hilarious film ever committed to celluloid. Though censorship at the time required some of Kaufman and Hart's ribald dialogue to be toned down, no matter! Monty Woolley's performance is priceless, but Bette Davis, for once in a subdued, non-star performance, provides the heart of the movie and is achingly touching in her subtle evocation of a down-trodden secretary finally discovering love--and in danger of losing her Romeo to the ravishing, outrageously man-eating Ann Sheridan. A perfect film for Christmas viewing (thanks to its exquisite black-and-white cinematography capturing a greeting card background for the non-stop lunacy in the foreground). A perfect film for any day of the year. I've seen other versions--the TV production with Orson Welles, the Broadway musical in the late 1960s, the recent Broadway revival with Nathan Lane. They all pale when compared to this definitive, timeless, masterpiece!
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