"Heaven Can Wait" *** 1\2 (out of ****)
"Heaven Can Wait" is magic. A splendid, romantic, sophisticated comedy done with a sure hand.
"Heaven Can Wait" marks the first time I've reviewed an Ernst Lubitsch film. It is something that I've regretted since I started this blog. The problem was, nearly all of Lubitsch's films belong in my "Masterpiece Film Series". Which one could I have reviewed first? I already wrote an entry into the series, Keaton's "Sherlock Jr." and it is too soon for another. While, I must admit, I like all of Lubitsch's films, some I like more than others. I use to think "Heaven Can Wait" (1943) and "To Be or Not To Be" (1942) were good Lubitsch films but not great. So, I thought I could review either one of those. So I watched both films again. I changed my mind slightly on "To Be or Not To Be" but dramatically on "Heaven Can Wait".
Those unfamiliar with the story should know it is based on a play, "Birthday (Szuletesnap)" written by Hungarian playwright Lazlo Bus-Fekete. Dom Ameche stars as Henry van Cleve. A playboy who has died. Looking over his life he feels he has led a life of sin. Hell should be his final resting place. But the Devil (Laird Cregar) is not sure Henry has come to the right place. So Henry tells him the story of his life and all the women he has engaged in sinful acts with.
The main problem I had with "Heaven Can Wait" was I never felt Henry's "sins" were as bad as he proclaimed. So he had many lovers, big deal! Does he deserve to go to Hell? I could never get my mind over that plot point. And thus, the rest of the movie was somewhat ruined for me.
As I watched this film again I began to realize the criticism I had was so insignificant. It didn't matter if Henry's sins were truly as evil as he thought they were or not. The movie is not about that really. The story is really a love story about a man who carries these personal sins around him but met a woman who became his redeeming light. It is a story of love overcoming both evil and lust. The sequence with the Devil is merely a plot device used to introduce the flashbacks which begin the story.
Ernst Lubitsch is one of my favorite directors. His comedies always maintained a certain level of sophistication to them that have only been matched by Preston Sturges. The difference between the two men is Lubitsch didn't rely on slapstick as much as Sturges. There may have been physical comedy in Lubitsch's films but the wit of the dialogue is what carried them through.
Lubitsch was born in Berlin, Germany in 1892. After making several films in his homeland, the DVD distributor, KINO, has recently released some of his early works, he left Germany in 1922 as the political climate was starting to change. His best known American film during the silent era may be "The Marriage Circle" (1924). But it was his sound pictures which secured is reputation as a great director.
His early films were musicals believe it or not and usually starred Maurice Chevalier and Jeanette MacDonald. My favorite of his musicals is probably "Monte Carlo" (1930) with Jack Buchanan. Others included "The Love Parade" (1929), "One Hour With You" (1932) and "The Smiling Lieutenant" (1931). But my all time favorite Lubitsch film is a sparkling romantic comedy about thieves, "Trouble in Paradise" (1932). All of these films were playful in their attitude regarding sex and made strong innuendos. But the films were never vulgar. That is something I miss about Hollywood. All of these Lubitsch films are what we now know as "pre-code" but even the films made after the production code, were smart. The viewer understands the sexual subtext underneath but it wasn't pushed in our face. Because of the code writers and directors had to be smarter. They had to find ways to work around things. Today it is all four letter words and nudity. There's no creativity. No imagination anymore!
"Heaven Can Wait" doesn't come out a say Henry was an unfaithful husband or that he was fouling around with various women but we get the idea. The film just says he kissed women he didn't end up marrying. Nothing is truly that innocent. Trust me, Henry was getting it on.
But everything changes for Henry when he meets Martha (Gene Tierney). For Martha, Henry says, he will change all of his vices. No more drinking, no more gambling, no more women, why, he may even get a job! This is serious talk from Henry. One problem. She's about to get married. But should that stop Henry from being with the woman of his dreams? Not in the movies.
Besides the fine performances given by the two leads the supporting cast is also terrific. Charles Coburn co-stars as Hugo van Cleve, Henry's grandfather. Coburn was a great character actor, who even won an Academy Award in George Stevens' great WW2 comedy "The More the Merrier" (1943). He was nominated two other times for performances in "The Devil and Miss Jones" (1941) with Jean Arthur and "The Green Years" (1946). He was also in the funny Jack Benny comedy "George Washington Slept Here" (1942) and the dramatic "Kings Row" (1942). He was always a lively personality on-screen. Who could definitely steal scenes from the bigger stars.
Allyn Joslyn plays Henry's father, Albert and Spring Byington as Bertha van Cleve, Henry's mother. They two were old character actors. Joslyn had many roles on TV and played the uncle in "High Society" (1956) with Frank Sinatra and Grace Kelly.
But of course the two leads will catch most people's eyes. Gene Tierney may be best known for her role in Otto Preminger's "Laura" as the title character even though she was nominated for an Oscar for the film "Leave Her to Heaven" (1945) and was in Jules Dassin's excellent "Night and the City" (1950). In this film Lubitsch and his camera make us fall in love with her. The camera captures all of her beauty in several long unbroken shots of her. This movie, more than other made me realize just how beautiful of a woman she was. I understand that says nothing about her acting but her beauty is clearly something Lubitsch wanted to reference in this film.
Don Ameche honestly never really impressed me much as an actor. He is very good here and in a small number of other roles. I like him in the comedy "Midnight" (1939) where he actually plays a Hungarian. And in a pair of musicals; "Down Argentine Way" (1940) and "Moon Over Miami" (1941). He was nominated for one Oscar in his career, in 1986 for the Ron Howard comedy "Cocoon" (1985). In "Heaven Can Wait" he is suppose to play the refine young man who goes against societies' norm. He does it well. He looks the part and his able to make us care about him even though he tells us he has led the life of a sinner.
The film was nominated for 3 Oscars in 1943. One for the cinematography, directing and picture. It was nominated against such films as "Casablanca", David Lean/Noel Coward's "In Which We Serve" and "For Whom the Bell Tolls".
The title, and only the title, was remade in the 1978 Warren Beatty comedy "Heaven Can Wait" which was actually based on the film "Here Comes Mr. Jordan" (1941). Please don't confuse the two, though both of those movies are well worth seeing.
I guess the reason I love watching this film and Lubitsch so much is first of all because it is funny. The film has some wonderful lines, none of which I will reveal here. The supporting cast does a fine job supplying comedy relief. I like the old-fashion attitude of the film. I love how playful Lubitsch and long time screenwriting collaborator, Samson Raphaelson ("The Shop Around the Corner" (1940) and "The Merry Widow" (1934)) are in the way they treat sex. I also find the film can be very romantic, it reminds me of a popular Hungarian film, "Szindbad" (1971), about a playboy looking back on his life. Lubitsch is able to evoke a heavy deal of nostalgia. The film is sentimental about the bygone era. Normally we may not find such as character as Henry appealing, but he grows on us. And finally I merely love looking at Gene Tierney.
As for Lubitsch himself. I love his movies for the sentimentality they invoke. I admire his sophisticated ways in dealing with adult subjects. And most importantly of all, his films are funny. I mentioned before in my review for "Easy Living", written by Preston Sturges, that Sturges and Lubitsch make the kind of films which greatly inspire me. These are the type of films I have attempted to make. They will always remain a great influence on me.
I debated with himself about whether or not I should include this in my "Masterpiece Film Series". Now that I've written about it, there is nothing I can do. There are many more Lubitsch films I will have the opportunity to write about. I will include those in the series. The main thing however is to get people to watch this film. This is one of Lubitsch's best films.
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