User reviews

A nice comedic performance from Arliss as a business man, whose family has no time for him. He feigns bankruptcy to get them to stay home with him, and is surprised at how they all rally to him. The ruse brings him unexpected financial benefits as well. Warm-hearted film though playing on only one note story-wise.

Mary Astor is fine in an early sound role and the supporting cast does well all around. It's a delight watching Arliss' facial expressions, which convey more subtlety than he could have produced on stage and show him a continued master of comedic timing.

Although only a few sets are used, they are well done and up to the usual Warner Bros. standards of the early thirties.

The second of two films George Arliss & Mary Astor made together (the first was Man who played God, 1922). Successful stock market businessman Henry Wilton returns home to find his house in full turmoil - his wife is entertaining, and his dashing, perfect kids are busy with their lives and loves. Even when his business dealings start going bad, Wilton cracks jokes that no-one else seems to hear. When he can't get time alone with his wife, he devises a scheme to have more time alone with her. and... just like on I Love Lucy, his scheme backfires. Surprisingly good quality sound and photography for 1932. It was just post-silents, and you can still see a lot of black facial features make up on Arliss and others. Viewers will recognize Grant Mitchell as Connors, Mr. Wilton's butler, who appeared in tons of films, usually as a stern, serious leader. Fun plot involves the stock market, which is a little surprising, so soon after the stock market crash of 1929, but as someone has previously noted, the original play was written and presented in 1917.

In all too many movies like this one, the family members are selfish and care little about others. As soon as Arliss's character confesses to his family that he's in financial trouble, they all jump on the bandwagon to help out. They express regret over being the cause of the problem by having spent too much money. The children love their stepmother. She, in turn, pawns her jewels to help out. While perhaps a bit corny by today's standards, this movie stands out as one that anyone who genuinely likes people could enjoy.

George Arliss was a senior stage and movie actor by the time sound came to motion pictures. But in "A Successful Calamity", he shows why he was one of the leading actors of his time that included the first three decades of filmdom. He still has a touch of the hammy in this film, where he seems to pan for the camera with subtle glances or short stops. Those were trademarks of silent films. Actors had to emote more in facial expressions and physical gestures to convey the scene's story sans sound. That was true also, though less obviously, for stage plays. But his panning in "A Successful Calamity" isn't so serious that it detracts from the film. Instead, we begin to see the great actor who was a master at conveying moods, thoughts, and feelings by his expressions and facial movements.

Arliss was British. He made most of his silent films in England, but most of his films with sound in Hollywood. In this film, Arliss plays a prominent financier, Henry Wilton. He has a fine supporting cast that includes Mary Astor as his young wife, Emmy "Sweetie," Evalyn Knapp as daughter Peggy, and William Janney as son Eddie. Some other actors – a young Randolph Scott as a polo coach, Grant Mitchell as Wilton's butler, and others add nice flavor to the film. But the heart of this movie is Wilton and his family.

The plot is very good. Arliss and Astor are excellent in their roles, but the acting of the youngsters in this film is pretty amateurish. The production qualities suffer some. Still, it's a good family story that should delight most movie buffs. To paraphrase Wilton in a scene toward the end, one never had so much fun as when one had so little to distract himself or herself from the important things in life. This is a nice film with a nice tale. Because Arliss was already a senior (age 64 in 1932) at the time of this film, he would only be in movies a few more years.

In this film George Arliss instead of doing one of his own stage successes took a play that had starred William Gillette on Broadway during the 1917 season for 144 performances. Gillette had trouble getting folks to see him as anything else other than Sherlock Holmes, but Arliss suffered no such handicap and does make the role his own in the film adaption of A Successful Calamity.

Once again Arliss plays a tycoon who even has himself a second and trophy wife though that term was decades away from its coining and in the film the wife is played by Mary Astor. Astor and his kids from the first marriage William Janney and Evelyn Knapp are driving him to distraction with their spendthrift ways.

So Arliss decides to let out the rumor that they're broke. It couldn't have hit them harder than Eugene Palette's announcement to the Bulloch family in My Man Godfrey. Brings them all up short a bit.

Arliss who was one of the great actors of the English speaking world of the stage apparently instinctively knew the value of underplaying in his sound feature films. His little tricks during closeups rivet your attention to him. He's supported well by his cast which also includes Randolph Scott in a small role as Evelyn Knapp's true love. William Janney seemed to have taken a patent out on playing callow youths who get into jackpots during the early talkie period as he does yet play another here.

Though it's old fashioned and the acting style all around is I think you can still enjoy A Successful Calamity.

When a rich financier fears that his wife & children take him for granted, he arranges A SUCCESSFUL CALAMITY to make them believe he's lost all his money.

George Arliss, the 1930's preeminent character actor, is perfectly cast in this bit of dramatic fluff. With the lift of a sardonic eyebrow, or the twitch of an elegant finger, he is able to convey volumes of personality & emotion. Listen to how he pronounces the single word `poor' - turning it into two syllables layered with nuance - to get an idea of the quality of stagecraft at work here. It is to Hollywood's discredit that Arliss' contributions to American cinema have been in eclipse for decades.

The rest of the cast- Mary Astor as Arliss' society wife; William Janney & Evalyn Knapp as his preoccupied children; Hardie Albright as a social twit; Grant Mitchell as Arliss' faithful butler; Hale Hamilton as his business manager; Helena Phillips as a frantic cook; and Randolph Scott as a polo captain - do very well with their roles. But it is George Arliss that captures and holds the attention of the grateful viewer.

Adapted from the stage and expanded beyond a simple set, "A Successful Calamity" is an enjoyable cinematic parable that illustrates---through a simple deception---that money, though it is not the root of all evil, is not the measure of true success.

George Arliss plays financier Henry Wilton who, like Odysseus, returns from his journeys to find his home in shambles---not literally, but figuratively. He devises a risky scheme to help him determine how desperate thing are.

This is a light-hearted film due to its clever script and the masterful performance of Arliss, around whom everything revolves. With nuance of voice and manner, he elevates the comedy and injects tenderness into every scene. It's a heartwarming tale that must have carried added significance during the Great Depression.

Sadly, while George Arliss was known by his colleagues as a great stage actor, the number of films he appeared in were relatively few despite his talents. In each of them I have seen, he gave a seemingly effortless and graceful performance that made me love his characters--in other words, he gave them great life and charm. Here, Arliss plays a major industrialist who spent a year abroad following WWI working for the American government. However, when he returns, he finds that his wife and grown kids are too busy to truly welcome him home and he longs for a happy family life. Then, rather by accident, he comes upon the idea of convincing the family that despite his millions, he is in fact broke. Here is where the film really comes to life. How each of these people as well as Arliss' butler react to the calamity is quite amazing--especially since the script is so magnificently written, it kept me guessing to the very end. It's not often that a film does this, as most films are rather derivative.

In addition to Arliss, Mary Astor, Grant Mitchell and the rest of the family, towards the end is a brief appearance of a very young Randolph Scott--and boy does he look young.

Lovely acting, great script writing and direction make this a wonderful comedy treat that deserves to be remembered. Watch the film then tell your friends--this one is a keeper!

George Arliss is marvelous as a successful financial agent (Henry) who suffers "A Successful Calamity" of his own creation. He has two children, Evalyn Knapp (Peggy) and William Janney (Eddie). As his character states, he wisely picked younger Mary Astor for his second wife (Emmy), after becoming a widower. You can spot Randolph Scott as polo coach, wearing a "bull's-eye" striped cap.

When this film begins, Arliss is returning home from a successful business venture; he ls looking forward to catching up with the family. However, his wife and children are caught up in polo matches and socials. Then, he announces he is financially "Ruined!" How will the family take their imminent poverty?

Mr. Arliss commands the screen in a way few actors do (Greta Garbo may be a good comparison). He uses both big and slight glances and twitches of face and body. He uses intonation of voice and is obviously aware of camera positions and continuity. Arliss is magnificent at a stuffy piano recital (watch every movement!), and delightful simply drinking tea. Also, watch how he changes his acting ever-so slightly when he tells Ms. Astor they are penniless.

"The poor don't get to go very often." is a line to watch for - first as uttered in a conversation with loyal Butler Connors (Grant Mitchell, in perhaps the best of the film's supporting performances); the scene triggers Arliss' plan. With "A Successful Calamity", Arliss has selected a role which enables a commanding performance.

********* A Successful Calamity (1932) John G. Adolfi ~ George Arliss, Mary Astor, Grant Mitchell, Evalyn Knapp

When the play on which this movie was based opened in 1917, American middle and upper class fathers might have felt some envy for "the poor," where wives and children had to stay home in the evening, so they could be there when father arrived. I say "might." By 1932, three years into our greuling depression, I doubt that was the case. No one envied the poor. Everyone was frightened of becoming poor.

So I don't know how movie audiences - unlike Broadway theater audiences - would have reacted to this play about a wealthy financier who pretends to have suddenly been "ruined" so that he can see his family around the dinner table.

It's short, but it didn't really hold my interest.

It's hard not to compare it to *Dinner at Eight*, which came out that same year but, at its best, has some remarkable scenes. (Also some over-long and melodramatic ones.) George Cukor was an infinitely better director, the cast was all-star - not the case here - and it manages to mix comedy and bathos relatively well.

If you liked Greedy, check out A Successful Calamity, a comedy about a millionaire who pretends to be penniless to bond with his family. George Arliss stars as the patriarch, and after a year and a half abroad, he returns home to find his family all off living the life of the rich and famous. His wife, Mary Astor, is involved with a piano prodigy, Fortunio Bonanova, and has lavish taste in modern art. His daughter, Evalyn Knapp, is set to marry a wealthy beau even though she's clearly in love with the poor, hunky Randolph Scott. His son, Hardie Albright, spends all this time with polo ponies and fast women. Only his loyal butler, Grant Mitchell, sticks by his side.

In an effort to reconnect with his family, George tells everyone he's ruined. What will happen? Will his plan backfire? You'll have to watch this movie to find out, and I highly recommend you do. It's very cute, funny, and quick. Don't turn your brain off during this movie, since finances are readily discussed. Easily imagined as Clare Kummer's original play, it's fast-paced yet calming, since family love is at the heart of the story. I'd never seen a George Arliss film before, and while he is unimpressive in his first scene, he quickly charms the audience with his wit, intelligence, and genuine affection towards the other characters. It's no wonder he was such a popular actor in the early days of cinema.

George Arliss is a Wall Street banker. He has just spent a year traveling abroad, negotiating international bond settlements on behalf of the nation. His reward is the thanks of the President. What he really wants is to get home to his family, his daughter Evalyn Knapp, his son William Janney and his beautiful second wife Mary Astor. He looks forward to making some deals in the daytime and basking in the bosom of his family at night. They're all delighted, but terribly busy with musicales and polo and redecorating his room to throw out his comfortable chair. Fortunately his valet, Grant Withers, has saved his chair in his room, so Arliss moves in and asks what poor people do. Withers explains that poor people can't afford to go out, so Arliss announces to his family that he is broke.

It's always immense fun to watch Arliss play the sly old dog, outwitting everyone with no help but his scriptwriters. Although his best known movies were costume dramas like VOLTAIRE and THE GREEN GODDESS (both of which had been hits on stage and in silent and sound versions starring Arliss), I prefer him in his modern-dress comedies like this and THE WORKING MAN.

He had an unusual working relationship with Warner Brothers. He ran his own unit and his usual director was John Adolfi, who thought his job was to help Arliss realize his vision. Contrary to usual practice, the Arliss unit would have a couple of weeks' rehearsal before shooting. The story is that Adolfi shut down the shoot for hours, while Arliss tried to trace the source of a crackling noise on the audio track. It turned out to be Arliss lighting his pipe.

I am not buying this tale of George Arliss at 64 being married to a stunning Mary Astor. Poor Ms. Astor has to be kissed by him in the movie. The script offers some drama which connects in The Great Depression but then they try to tie a bow around the story at the end to bring it together hastily. You can hear the producers saying let's make a quick happy ending here. Pretty boring and predictable affair overall. There are men in their 60's who may end up as lucky as Arliss' character but I didn't buy anything about this story.

"Mr. George Arliss," the way he billed himself, wears his parts like a tailored suit. He seems so comfortable in all of them. He's one of those performers of whom Norma Desmond spoke in Sunset Boulevard: "They had faces, then." Arliss certainly did. And to that I should add, "style". His stage makeup, with lip rouge, is a bit quaint and off-putting at first, but he draws you so effectively into whatever character he's playing, that before long it's out of mind.

One of the delights of an Arliss movie is the young actors he liked to cast, some of whom became stars. He did it famously for Bette Davis, and here he's giving a beautiful, young Mary Astor a boost, as--because he can--his wife!

This is a clever little comedy, about a man who takes a drastic step to get in touch with his wife and kids, who have become too spoiled and self-indulgent to be a family. It's all in good humor, though, with some great comic bit parts, plus the confection of a very young walk-on Randolph Scott drawling a few lines. We know he's going places! There's even some slick corporate intrigue to spice up the plot.

Arliss and John Barrymore were great stage actors who could modulate their theatricality to fit the intimacy of the camera. while retaining their stage presence. Because he made so few movies, because he gives us a glimpse of the actor's craft from an otherwise lost era, and because of his unique look and style, George Arliss is always a treat.

If you liked Greedy, check out A Successful Calamity, a comedy about a millionaire who pretends to be penniless to bond with his family. George Arliss stars as the patriarch, and after a year and a half abroad, he returns home to find his family all off living the life of the rich and famous. His wife, Mary Astor, is involved with a piano prodigy, Fortunio Bonanova, and has lavish taste in modern art. His daughter, Evalyn Knapp, is set to marry a wealthy beau even though she's clearly in love with the poor, hunky Randolph Scott. His son, Hardie Albright, spends all this time with polo ponies and fast women. Only his loyal butler, Grant Mitchell, sticks by his side.

In an effort to reconnect with his family, George tells everyone he's ruined. What will happen? Will his plan backfire? You'll have to watch this movie to find out, and I highly recommend you do. It's very cute, funny, and heart-warming. Don't turn your brain off during this movie, since finances are readily discussed. Easily imagined as Clare Kummer's original play, it's fast-paced yet calming, since family love is at the heart of the story. I'd never seen a George Arliss film before, and while he is unimpressive in his first scene, he quickly charms the audience with his wit, intelligence, and genuine affection towards the other characters. It's no wonder he was such a popular actor in the early days of cinema.

That is admittedly a clumsy attempt at a witty review summary in reference to the title and the situation depicted. This in no way implying or indicating that 'A Successful Calamity' is a bad film or that Arliss is bad. It is actually the complete opposite on both counts. The title was interesting as was the premise, providing that it didn't become silly or preachy considering the type of story it has. Mary Astor was always worth watching too.

'A Successful Calamity' to me was hugely entertaining and a big success. It definitely lives up to its name. A fine example of how to make a calamitous event entertaining and engaging without being too broad or vulgar, going too far on the silliness, exhausting from being over-engineered or heavy-handed. It is a fine example of how talented an actor Arliss was, whether comedic or dramatic (his wonderful performance in 'The Man Who Played God' (or 'The Silent Voice' for some) is another fine example of his high standard) and why it is sad that he didn't make more films.

Maybe 'A Successful Calamity' is a touch rushed at the end when trying to hastily wrap things up.

Did think too that a couple of the younger actors are no match for the more accomplished ones, a very young (and here fairly forgettable) Randolph Scott certainly went on to much better things since.

Arliss however is nothing short of marvellous, his facial expressions are so varied, so telling and such a joy to watch without being theatrical. Astor, looking beautiful, is also very good in a role that she is well suited for. Grant Mitchell is good fun in a role that suits him well. John G. Adolfi directs deftly, need to see more of his work but have so far been impressed by what had been seen, he directs sensitively and smartly here without being too laid back or letting things get over the top.

Visuals are not expansive, not necessarily for this kind of film, but it doesn't feel too much of a filmed play or confined despite the very intimate (but not overly so) setting. The script is snappy and witty, while also being light-hearted. Nothing over-serious or crass here. The story is deftly handled, with the moralising not being laid on too thick. Faltering only near the end.

Concluding, very enjoyable and for Arliss particularly. 8/10

Although moviegoers of 1932 might have wanted to escape the harsh realities of the Depression, viewing A Successful Calamity might not have been as entertaining as it might have just a few years earlier. Most of the audience was quite familiar with the situation of being broke, and very few of them would have found that situation funny for anyone; even someone who had previously had money. Despite this drawback, the film is still entertaining due to the fine performance of George Arliss.