Topper

A dead couple is determined to loosen up their friend in "Topper," a 1937 comedy starring Constance Bennett, Cary Grant, Roland Young, and Billie Burke. Cosmo Topper (Young) is a bank president whose wife (Burke) has him on a strict schedule and, though unhappy, Cosmo complies.

When bank stockholders George and Marion Kirby are killed when their car crashes into a tree, the two become worried about what St. Peter will have to say to them. They were, after all, two fun-loving, hard-drinking, partying kooks. They decide they must do a good deed before approaching the pearly gates so they make loosening up Topper their project.

This is a wonderful film that inspired the Leo G. Carroll TV series with real-life marrieds Anne Jeffreys and Robert Sterling as Marion and George. The special effects in the 1937 film are groundbreaking and ingenious. Mores have changed over the years - driving drunk is no longer acceptable. I'm afraid George and Marion would be heartily disapproved of today. Nevertheless, they're a gorgeous, glamorous couple and the real stuff of fantasy. Bennett only has a couple of years of big stardom left and, with his second billing, Cary Grant is still on the ascent. They're both hilariously madcap, Grant blasting into a stockholders' meeting and trying to take notes, and Bennett flirting with poor Topper in her silky voice.

Roland Young is the perfect Topper - henpecked, confused, and a nervous wreck. He's a man dying to break free of his shackles, and he's always envied George and Marion's lifestyle, even though it killed them. His frustration and unhappiness make him sympathetic, and the audience is with him all the way.

Very enjoyable, with some effects that were eye-popping in 1937. Don't miss "Topper." It's a classic.

Influential box office hit finds a couple of free spirited, newly deceased ghosts inspiring a dull banker to live life to the fullest. The simple, straightforward story is given a fresh approach by a witty script and terrific performances from the entire cast - Roland Young is divine in an Oscar-nominated performance in the title role, and Cary Grant and Constance Bennett are terrific as the dearly-departed couple. The film was followed by two sequels, a long-running television series, a made-for-TV remake, and a whole slew of imitators - although none of which ever approached the quality of the original. A delightful good time that remains arguably the best supernatural comedy that Hollywood has ever produced.

This is a faultlessly wonderful movie. The chemistry between Grant and Bennett is captivating. But even more captivating is Roland Young as the middle-aged man trapped in a boring life and yearning to be free. It's hard not to envy the Kirbys their wonderful, carefree and madcap life, and to sympathize with Topper and his feeling of having lost his life. So, of course, you root for him - and against the wonderful Billie Burke - in his efforts to recover his freedom and LIVE. Yes, it's not unlike another great comedy, Auntie Mame, the story of the magical woman who frees young Patrick Dennis, and those who will listen, from their routine world of Babcocks.

If you've never seen this movie, treat yourself. Like the Kaufman and Hart classic "You can't take it with you," you will feel better for having watched it.

A carefree couple (Cary Grant, Constance Bennett) are killed in a car crash. They come back as ghosts to help their bank manager friend, Cosmo Topper (Roland Young), break out of his stuffy little rut and find happiness. I first saw this years ago and I remember being disappointed that Cary Grant isn't really the star of it, Roland Young is. This is probably the role Young is best remembered for, although it's very similar to some of his other roles. Namely that of a meek little man who mumbles and has funny deadpan reactions to things. He's likable and easy to root for. For their parts, Grant and Bennett are a lot of fun. They sing "Old Man Moon" with Hoagy Carmichael in one delightful scene. The supporting cast includes Billie Burke, Alan Mowbray, and a very funny Eugene Palette. The film was a success and led to two sequels and a TV series. It's a light screwball comedy with enjoyable performances and a good script. People expecting it to be a vehicle for Cary Grant might be disappointed but hopefully they'll give it a shot anyway.

When better than Christmas-time to watch a classic Hollywood fantasy feature, especially as it stars the great Cary Grant and sexy, sophisticated Constance Bennett. The film makes one obvious mistake in not naming the film after them, as the live-on-the-edge 24-hour-party-people couple who finally crash, literally, over to the other side when their car (and what a car it is!) hits a tree, leaving them as two disembodied spirits requiring to do a good deed before they can quit their earthly ties completely.

This then, they decide, is to be the emancipation of their middle-aged, henpecked bank manager friend, the only mildly rebellious thing about whom is his name, Cosmo Topper, played by Roland Young. Ordered about by his dull wife and domineering butler, Topper's worm gradually turns due to the influence of alcohol, Grant and in particular Bennett's coaxing but finally his own suppressed natural spirit coming to the surface.

A great screwball comedy, directed at high speed by Norman Z MacLeod, "Topper" is great fun from start to finish. The two separate lengthy opening scenes perfectly encapsulate the contrast between the high-flying Kerbys and the low-lying Toppers and it's no great surprise as to who changes who for the better by the final reel.

With the usual 30's comedy mix of sharp dialogue, slapstick and fine-for-the-time special effects to suggest ghostly comings and goings, the film entertains from first to last. Most surprising is the prominence given to a racy pair of lady's drawers not only in clearing a fashion store of its occupants but in later proving the catalyst for Topper's wife to go from strait-laced to frilly-laced and put the fire back into their staid marriage.

Grant and Bennett are great as the high-society duo who aren't on the screen enough (and I don't just mean when they're invisible in spirit form). Shame they didn't make another movie together, they're well-matched here. Young is fine too as the mousy manager who finally learns to roar.

This was a fun romp of a movie, with just a gentle live-for-today (but not too fast!) moral at its heart.