A Hollywood film director assembles a group of friends and strangers for a social gathering on Valentines Day in a deserted movie theater where he interviews each one on their opinions on love and loneliness.
Don Knotts is Hollis Figg, the dumbest bookkeeper in town. When the city fathers buy a second-hand computer to cover up their financial shenanigans, they promote Figg to look after things, ... See full summary »
Broadcast of a live performance of the Roundabout Theater Company's 2000 New York revival of the classic Kaufman-Hart comedy, about a famous (and famously acid-tongued) theater critic who ... See full summary »
Raised in a Trappist monastery, the innocent Brother Ambrose sets out to find money to save the bankrupt monastery. His education in worldliness is provided by a hooker. He eventually ... See full summary »
Jesse W. Haywood graduates from dental school in Philadelphia in 1870 and goes west "to fight oral ignorance." Meanwhile stagecoach robber Penelope "Bad Penny" Cushing is offered a pardon ... See full summary »
Burt, a clever ex-con, has changed his identity and has managed to land a job as a deputy in small town in upstate New York. On the 4th of July, while the drunken Sheriff Paisley is busy ... See full summary »
When I was at college I saw this on television. At the time I was really into the work of Welles, rarely noticing the criticism that was to be found against him. While on the whole he was a welcome film and stage giant he had flaws. One of them was his comic sense. He had a sense of humor, but his performance as Sheridan Whiteside seemed pretty dull. And his singing "American Pie" several times in the course of the play seemed meaningless (Monty Wooley sang "I'se Just a Wittle Wabbit" once in the play and movie, so Welles's warbling seemed even more meaningless).
Actually the real problem was that the Wooley-Davis film of 1941 was just too perfect to be replaceable by later versions (at least until Nathan Lane's excellent "Sheridan Whiteside" portrayal could be compared to Wooley). Both men went to town as the irascible critic who meddles in people's lives. But Welles never came to grips with it. Without a good central performance "The Man Who Came To Dinner" is hardly worth watching. So yes, this one is justly forgotten.
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