A newspaper man, his ignored fiancée, and his former employee, a down on his luck reporter, hatch an elaborate scheme to turn a false news story into the truth in order to prevent a high-society woman from suing for libel.
A simple, small town man inherits a massive fortune, making him the target for scammers and publicity-seekers. Overwhelmed by the turn his life has taken, and awoken to another use for his new-found fortune, he makes a momentous decision.
The eccentric Bullock household again need a new butler. Daughter Irene encounters bedraggled Godfrey Godfrey at the docks and, fancying him and noticing his obviously good manners, gets ... See full summary »
Jessie Royce Landis
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 <firstname.lastname@example.org>
At the beginning of the film, and sporadically throughout, Godfrey, portrayed by William Powell, is called "Duke" by his friend Mike, and by other hobo town men at the city dump, but he is never called Duke by anyone else off of "the dump" property. See more »
At the Tea Party While Irene is talking to Charlie Van Rumple, in the background you see Godfrey serving Cornelia with a tray and she takes an item in each hand. A few seconds later the scene shifts to Cornelia, and Godfrey again serves her and she takes the two items again. See more »
[looking out the window of Godfrey's nightclub, which overlooks the Brooklyn bridge]
It's a lovely view, with the bridge and everything - Is it always there?
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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 »
Also available in a computer-colorized version. See more »
"My Man Godfrey" successfully blends the two most prominent schools of film comedy from the 1930's: `sophistication' and `screwball.' It smears the conservative upper-crust milieu with the keen eye of `Dinner at Eight' and the pie-in-your-face irreverence of `You Can't Take It with You,' with as many witticisms as either and probably more sexual innuendos. Occasional predictability keeps it from being on par with "It Happened One Night" or "Trouble in Paradise," but it is still one of the most emblematic films of its era.
William Powell is pitch perfect as Godfrey Parke, the hobo-turned-butler, breezing effortlessly through every scene. Carole Lombard also turns in one of her most cherished performances as Irene Bullock, the spoiled socialite who pretends to enjoy her wealth but really just wants to be around someone human. As their relationship progresses, Godfrey's humility rubs off on Irene and ultimately frees her from her elite family, which offered her security but only made her unstable. `My Man Godfrey' has no mercy on the aristocracy of the 30's, skewing it as socially incompetent and morally bankrupt. `All you need to start an asylum is an empty room and the right kind of people.' How terribly true.
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