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Your Last Act (1941)

Approved | | Short | 12 July 1941 (USA)
This short looks at the odd bequests that people have made in their wills over the years. They include a woman who left her fortune to her pet cat and a murderer who ensured that his ... See full summary »

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(idea), (as Doane Hoag)
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Cast

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John Nesbitt ...
Narrator
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Storyline

This short looks at the odd bequests that people have made in their wills over the years. They include a woman who left her fortune to her pet cat and a murderer who ensured that his corneas would be donated to a blind girl after he was put to death in the electric chair. At the end, the will of Charles Lounsberry, who died with no earthly possessions, is read in its entirety. Written by David Glagovsky <dglagovsky@prodigy.net>

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Short

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Approved
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Release Date:

12 July 1941 (USA)  »

Also Known As:

Passing Parade No. 25: Your Last Act  »

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(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Followed by The Immortal Blacksmith (1944) See more »

Soundtracks

Symphony No.5 in E Minor, Op.64
Written by Pyotr Ilyich Tchaikovsky
Excerpts played during the opening credits
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User Reviews

 
From Beyond The Grave
16 April 2004 | by (Forest Ranch, CA) – See all my reviews

Whether foolish, spiteful, wise or sentimental, a person's Last Will and Testament can have far-reaching consequences.

This short film memorably illustrates some unusual final bequeaths & depositions. The viewer will meet a modest goldfish, a most fortunate spaniel, a surprised wife and a tenderhearted killer. The film ends with the beautiful & poignant will of Charles Lounsberry, a hobo who left to the world the joy of life.

Directed by Fred Zinnemann, this was part of the MGM series John Nesbitt's Passing Parade, and was narrated by Mr. Nesbitt. Movie mavens will recognize a snippet from DAVID COPPERFIELD (1935), featuring an unbilled Fay Chaldecott as a joyous Little Em'ly.

Often overlooked or neglected today, the one and two-reel short subjects were useful to the Studios as important training grounds for new or burgeoning talents, both in front & behind the camera. The dynamics for creating a successful short subject was completely different from that of a feature length film, something akin to writing a topnotch short story rather than a novel. Economical to produce in terms of both budget & schedule and capable of portraying a wide range of material, short subjects were the perfect complement to the Studios' feature films.


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