User reviews

When I first saw this movie, I thought it was fair at best. On the second viewing, I really, really liked it. I'm almost afraid to see it for the third time, as I could almost dislike it again since I seem to flip-flop on this.

THE GOOD: The film has "charm" written all over it. Although Irene Dunne has some Grace Allen-type gag lines, William Powell is the one who provides most of the laughs in this tale of upper-crust family life in the 1880s. However, both Powell and Dunne are excellent and play off each other well. The story revolves around the personal and business life of the Clarence Day family, a true family in the sense of the word it, which is nice to see. Every character is interesting and the supporting cast includes Edmund Gwenn and Zasu Pitts (love that name!). Nice Technicolor, too.

THE BAD: The romance between Jimmy Lydon and a young Elizabeth Taylor gets a little sappy. Powell's constant exclamation "Gad!" is very annoying as a close as screenwriters apparently could get to saying "God" all the time in 1947.

All in all, it's a nice period piece that takes you back life a little over a century ago, and provides us another one of these more-innocent family stories. To my knowledge, there has never been a good print made of this, either on tape or DVD, which doesn't make sense considering the fine cast and good reputation of this movie.

I saw this film - once again on the indispensable American Movie Classics Channel - for the first time recently and it has quickly become one of my favorites. It perfectly captures the flavor of Clarence Day's books and draws us completely into the era and into this particular New York brownstone. This was my first viewing of William Powell in what was surely his quintessential role; his work is superb, as is the marvelous chemistry between him and Irene Dunne as his "dear Vinnie". The source of the movie was Clarence Day Jr's three books - "Life With Father", "Life with Mother", and "God and My Father" - which recollect his growing up in late 19th century New York in the well-to-do household of his irascible, catankerous, but ultimately loving father Clarence Sr. As the books are mere strung-together pastiches, it must have been a challenge to assemble them into a coherent whole with a story line. Howard Lindsay and Russel Crouse succeeded, in the play on which the film is based, and screenwriter Donald Ogden Stewart transferred it to celluloid very nicely. A wonderful character study, and a beautiful snapshot of life in late 19th century New York. Viewers who enjoy it are well-advised to find the books on which they are based (the library is your best bet; the books have gone out of print since their best-seller days long ago). At the conclusion, one hates to have the movie end; you want to spend just another day or two in the Day household.

Once again Michael Curtiz demonstrated his bewildering versatility by moving from black & white noirs to this nostalgic Technicolor whimsy whose success doubtless led a couple of years later to the superior 'Cheaper by the Dozen', in which the wife was appropriately played by Myrna Loy, for whom Irene Dunne here provides a most satisfactory substitute as Mrs William Powell.

Even more than Mr Gilbreth in the latter film the title character is really just a pompous boor whose supposed charm largely resides in the fact that he's played by Bill Powell; and it's a shame we don't see more of Heather Wilde as the short-lasting maid Annie who carries the first twenty minutes before quitting in tears, never to return.

As an adult, Clarence Day Jr. (1874-1935) joined his well-known father on Wall Street--but developed a form of arthritis that left him a semi-invalid. Shortly before his death he published LIFE WITH FATHER, a humorous memoir of his Victorian childhood; sadly, he did not live to see its great success. A best seller, the novel was adapted to the stage in 1939 by Howard Lindsay and Russell Crouse. Warner Bro.s bought the film rights, agreeing to wait until the show finished its Broadway run; as it happened the studio had a long wait, for the play went on to become one of Broadway's longest running shows, playing almost eight years.

In acquiring the rights, Warner Bro.s also gave Clarence Day's widow and playwrights Lindsay and Crouse substantial power over the film version. Censorship issues of the day prevented an absolute translation of the script to the screen, but on the whole the script survived the transformation extremely well, and fueled by a host of flawless performances and remarkably fine production values LIFE WITH FATHER became as memorable on screen as it was on stage.

Clarence Day is an eccentric man, absolutely certain that he alone is correct in all decisions, and eternally running afoul of wife Vinnie's scatterbrained logic, his four sons, visiting relatives, and terrified servants. When a conversation reveals that he has never been baptized, Mr. Day laughs the matter off--but Vinnie is determined that he will be baptized whether he likes it or not. Comic battle-lines are drawn, and the result is a hilariously amusing portrait of Victorian manners and attitudes about everything from religion to the place of women in the world.

The performances are superlative. This would prove to be among the last great roles for both William Powell and Irene Dunne, who play Clarence and Vinnie Day, and to describe their work as flawless is actually an understatement: we completely believe in them from start to finish. The same is true of the cast in general, which includes a remarkably beautiful Elizabeth Taylor; legendary comic ZaSu Pitt; and even a very young Martin Milner. The costuming and sets also capture the look and feel of the era in remarkable fashion. The film is perfectly executed from start to finish.

But you might as well throw your money away than buy any of the releases presently available on VHS and DVD. There is not a one of them worth a dime: the color is atrocious, the sound is horrific, and the picture so blurry that the only thing you'll get for your money is a headache--and this has been true of every factory release I've seen to date.

It is a terrible shame that such a fine, indeed such a great film has been so incredibly neglected. Fortunately for all concerned, LIFE WITH FATHER continues to turn up on television fairly often. Until there is a restored release, don't buy a VHS or a DVD: tape it from television instead, for I can almost guarantee that the version you find there will be superior.

GFT, Amazon Reviewer

Life With Father, the story of an eccentric, excitable 1880s gentleman and his continually exasperating family is the perfect showcase for the under-appreciated talents of William Powell. Powell, best know for his work with Myrna Loy in the "Thin Man" series of films. Powell uses every second of this plum role to display his charming style and verbal acuity.

The story is simple: Powell and his wife, played by Irene Dunne, face a series of calamities, some serious and some ridiculous, mostly brought on by their four rambunctious, red-headed sons. After a visiting cousin brings along fifteen-year-old Elizabeth Taylor, events are put into motion which threaten to turn Powell's neatly-ordered world upside down.

The performances are uniformly fine, and Powell and Dunne are absolutely sterling. A supporting cast that includes Zasu Pitts, Edmund Gwenn and early appearances from Martin Milner and Elizabeth Taylor round out the picture quite well. If there is anything to detract from the complete enjoyment of the film, it is Taylor's performance, which can get grating, but hey, she's just a kid, and when you look at her, you can already see the amazing beauty still to come. The exceptional visual style of the film makes you long for the day when people rode in horse-carts to Delmonico's for dinner.

Watch for some classic dialogue between Powell and Dunne over the cost of a new coffee pot, between Powell and his son about "the facts of life where women are concerned," and the nonsensical wordplay over the return of a Porcelain Pug-Dog.

I have always liked this movie.

Clarence Day was the son of Clarence Day Sr. and Vinnie Day. His childhood (with three brothers) was a privileged one, as his father was a successful broker in New York City during the Gilded Age. Day became a humorist and autobiographer, writing three books that remain very entertaining: GOD AND MY FATHER, LIFE WITH FATHER, and LIFE WITH MOTHER. Day died in the 1930s, but a play by Howard Lindsay and Russell Crouse was produced from the books entitled LIFE WITH FATHER. It played for nearly a dozen years or so, and for many years had the record of Broadway performances before the coming of the super musical hits from OKLAHOMA onward.

LIFE WITH FATHER is set in 1885 (the historical reference that sets this date is the rant by Mr. Day at the newspaper, where he refers to the then Mayor of New York, "Honest Hugh Grant" and Tammany Boss Richard Croker). The story line is actually quite straightforward - the senior Day (William Powell) faces the daily problems of his household, thinking he is running things but constantly being out-witted by his dearly loved wife Vinnie (Irene Dunne) who insists on having an ugly ceramic pug dog for awhile. Accidentally Mr. Day reveals that his free-thinking parents have never had him baptized, and this horrifies his wife and their local minister (Edmund Gwenn). Being a man in his late forties now, Powell thinks it is absolutely foolish to make him get baptized now. In the meantime his oldest son Clarence (Jimmy Lyden) has met with the first love interest of his life (his mother's cousin, young Elizabeth Taylor). Clarence's brother John, who is interested in science (he has wired up the parlor to cause a bell to go off, that confuses Mr. Day no end), has gotten involved selling a patent medicine. This will have ill-effects on Mrs. Day and Mr. Day, culminating in an oath that Mr. Day will end up regretting. Finally there are some marvelous examples of home economics from Mrs. Day that baffle and confuse Mr. Day no end - watch how she takes back the pug dog (which was charged) and gets a "free suit" for Clarence ("THEY DON"T GIVE AWAY FREE SUITS!", Mr. Day insists.]

I doubt, unfortunately, that a book, play, or movie like LIFE WITH FATHER would last today. And I think we are the poorer for that. It is of a long dead world, with a fierce devotion to order and stratified social life in our homes and in our cities and nation. But it was not without it's charms. Catch the sweetest moment in this wonderful movie, when Mr. Day and Vinnie are singing "Sweet Marie" together in their parlor, on a summer afternoon.

Life with Father (1947)

A strained, loud, stiff, but rich, snappy affair...an acquired taste!

I think this movie might be very funny to some people, but at first I could barely watch it. It has one of my favorite comic actors of the 1930s, William Powell, but makes him so pompous and loud and ill at ease, he has lost all of his wry charm and genuine humor. Not that he jokes or even tries to be comic here, but his role (as the "father" in question) is offputting.

The sons are frankly bad actors in bad roles, too, cardboard, smiling clichés. The visiting girlfriend is none other than a young and fresh Liz Taylor (she's fifteen here), and she brings life to some scenes just as often as she overacts others. The upper crust New York household with its rules and with its whole family about to burst from all the restrictions (poverty not one of them, for sure) is not really funny. The filming is static, the camera stable, the light garish, and the color (Technicolor) egregious (everyone has red hair, it seems). Even after an hour I was still wondering what exactly the whole point of it was. Can we really just be waiting for the girl to hook up with one of the sons, as the father rants in strident tones about the price of a coffee pot?

No, we can't. What makes the movie work is the building of familiarity with the characters, so their humor, their occasional warmth, and the real, unfunny events later on have their effect.

The lead character's wife, played by Irene Dunne, is a relief, though she can't save every scene any more than Taylor can. Director Michael Curtiz is known for making scores of reasonable but not especially memorable movies, but hey, he made one of the best, Casablanca, and one of my favorites, Mildred Pierce. This is more typical, sadly. The story is based on the true childhood memories of the American writer Clarence Day (of no fame other than this material, which was a huge Broadway hit before the movie was made).

So I go back to where I started--this really might be funny if you have a different take on it all, or you don't find Powell grating in his role. It clips along with lots of yelling, so maybe if you like Carol Burnett you'll be okay. Ha. Seriously, relax and accept the characters for something very different than we expect 130 years later, and everyone will grow on you.

... that I could watch once a month every month, year in and year out, and of which I would never tire.

The Day family is headed by the authoritarian and often eccentric father, Clarence Day Sr., played brilliantly by William Powell. Powell brings his signature charm and wit to the character, making Clarence Sr. A lovable figure despite his quirks. Irene Dunne portrays his equally strong-willed but supportive wife, Vinnie, with grace and impeccable comedic timing. The chemistry between Powell and Dunne is the film's backbone, with them often being at odds, at least on the surface.

Set in late 19th-century New York City, it captures the charm and idiosyncrasies of this conservative Victorian family in a lighthearted and amusing manner. Clarence Day demands that the family finances be run on a business basis, but his family thwarts him at every turn. However, the main conflict in the film occurs when Vinnie discovers, by Clarence Sr.'s own admission, that he has never been baptized. Being dogmatic about the Protestant religion, she openly fears for his soul, believing that he will not be admitted into heaven without this event occurring, and even wondering if they are really married in the eyes of God. Day finds the whole business ridiculous and refuses to be baptized, since he would feel himself to be a spectacle to be baptized in middle age. Religion is something he tolerates as long as it does not become a bother.

Along the way a haunted suit, a ceramic pug dog, patent medicines prior to the FDA, a revolving door of maids, and the oldest son of the family, Clarence Jr., wondering if Episcopalians and Methodists can peacefully coexist (he wants to court a Methodist girl and he is Episcopalian) create charming situations that make this movie special. Expertly directed by Michael Curtiz who manages to make this play adapted into a movie not appear episodic.

The casting of this film actually turned into a mini "Scarlet O'Hara War" in regards to who would play Mrs. Day. Myrna Loy, Rosalind Russell, Rosemary DeCamp, Jean Arthur, Bette Davis, and Mary Pickford all campaigned for the job but in the end lost out to Irene Dunne. Pickford took the loss especially hard, hoping that this would be her comeback role.

One of the longest running comedies in Broadway history is brought to the screen in a lovely adaptation, with beautiful sets and a wonderful cast.

William Powell and Irene Dunne are simply superb as Mr. and Mrs. Clarence Day, a couple who have been married for twenty years. They have four children, all red-headed boys, and an ever changing number of maids (who fail to be able to satisfy Mr. Day).

Mr. Powell and Ms. Dunne work extremely well together. Their scenes are first rate. While he tends to treat her as a second class citizen, it is easy to see who runs the house and who has the upper hand in their relationship. It's also very clear that after being married for as long as they have, that they genuinely are crazy about each other.

The movie only gets bogged down in the scenes between Elizabeth Taylor and Jimmy Lydon.

7 out of 10

I suppose "Life with Father" had two things going for it in 1947: it probably appealed to a war-weary public who responded to a film set in a simpler and saner time, and its gender dynamics might have resonated with a generation of husbands and wives having to deal with men reasserting themselves after relinquishing their duties to women for a period of time. But from the perspective of 2016, this film -- and it pains me to say this given my admiration for William Powell and Irene Dunne -- has virtually nothing to recommend it.

"Life with Father" is one of the dullest films I've ever seen. It's a one-joke, one-note premise extended over nearly two hours: father is stubborn and clueless, mother pretends to let father have his way while all the time running the house. Over and over and over. Each scene feels interminable. I swear there's a fifteen-minute conversation about buying a new coffee maker. And the mystery is that Powell and Dunne, two of the best comedians of their time, make none of this funny. It is inexplicable to me, on the basis of this film adaptation, that this thing ran on Broadway for so many years.

I don't think it's just a matter of this film being made in a different time. I think it's just not good. "Meet Me in St. Louis," which came out three years earlier, is very similar in many ways, a colorful film that evokes an earlier, happier time. It even has a gruff father who everyone tiptoes around in order to get what they want. But that film is tremendously entertaining and heartfelt, whereas "Life with Father" feels like a desultory slog.

Powell undeservedly received an Oscar nomination for Best Actor, while the film also garnered nominations for its color art direction and cinematography and its Max Steiner score. It won no awards, and didn't deserve to.

Grade: D

Life With Father is one of my favorite movies. How could you possibly go wrong with two legends of the Silver Screen, William Powell and Irene Dunn, and the wonderful ZaSu Pitts! I love everything about this movie...the time period of the early 1900's New York, the sets and costumes, the interweaving story lines, the acting, the charm and sweetness...I wish this movie could have had a sequel...William Powell and Irene Dunn are absolutely brilliant in this movie. Thank you Clarence Day, Jr. for sharing this wonderful story...

William Powell as Wall Street broker Clarence Day, a devout Republican, penny-pincher, and eternally-fussy family man in 1880s New York. He's an insufferable prig, the kind of man who refuses to kneel at church and makes maids cry. His lashing out at everyone is supposed to blustery and charming--holding up a 'mirror' to the audience so that we can see what funny fools we all are. This would acceptable if Powell's performance were indeed a hoot but, instead, his Clarence Day is a lead-weight: Ebenezer Scrooge without the benefit of Christmas. Donald Ogden Stewart's screenplay (adapted from the insanely long-running Broadway hit by Howard Lindsay and Russel Crouse, from Day's memoir), is full of big entrances, punched-up laugh lines, and broad exposition. One gets the feeling that Ogden Stewart grew up in the theater and remained there throughout his adulthood. The picture has handsome color, and the casting benefit of a girlish Elizabeth Taylor as a love-interest for Powell's eldest son (whose voice cracks like a 12-year-old's, though the actor portraying him is at least 20). As for Powell, his nasty disposition is finally (and predictably) sentimentalized, as if the ultimate purpose of this piece was simply to melt our hearts. Bah! ** from ****

I have been a tremendous fan of this movie for many years. I discovered the movie version after I had seen a local stage production and it was an excellent transfer of the play to the screen. Until recently I had only seen it on TV first in black and white years ago and then in color on TCM. I like it so well I bought two of the DVD versions (I won't mention which) and as other reviewers have said they were horrible with washed out color, grainy images and sound that was not synchronized and barely understandable. I guess this is all you can reasonably expect for a movie that has some how slipped into the public domain and for which there is not much demand. However, while searching on Amazon I discovered a review for a new digitally remastered DVD that supposedly fixed all those problems. I ordered a copy and the review was correct. There is now an excellent DVD available from DigiComTV BarCode # 885444062681.

This film's excellent cast brings interest to a story of otherwise routine family events. Almost all of the performers are nicely matched with their characters, especially William Powell and Irene Dunne as the parents. The period piece setting works well most of the time, and although it is occasionally stagy, "Life With Father" is a pleasant movie to watch, with many good comic moments.

Powell is perfect as Mr. Day. The character in himself is not especially distinctive - an autocratic, mildly eccentric, often oblivious patriarch - but Powell gives a fine performance that makes him a worthy center of attention. Dunne is, if anything, even better as the charming and patient Mrs. Day, who is much more clever than she appears, and who in most respects actually runs the household. The rest of the cast includes some fine supporting actors like Zasu Pitts and Edmund Gwenn, with Jimmy Lydon adding a good performance as Clarence, Jr. There is not that much to the actual plot, but the acting, writing, and careful production (including attractive Technicolor photography) make innocent day-to-day events seem significant, and make the viewer want to see how things come out.

Because of the fine cast, this movie works well as comedy and as a thoughtful look at family life. If you enjoy classic cinema, take a look.

This was directed by Michael Curtiz and is set in New York, 1883. William Powell and Irene Dunne star as the parents and they have four sons. Their isn't much of a plot, it just shows a couple of days in their life. Powell scares away all the servants and doesn't get along with a lot of people. Powell won't get baptized and won't kneel to pray at church and Irene Dunne is begging him to get baptized. When the oldest son wears one of Powell's old suits, he begins to act like him. Powell is also very uptight about money and is upset at Dunne for opening an account at a store. I love William Powell but i don't think he did a very good job and the movie is only two hours but it goes by pretty quick.

In his third and final Oscar nomination, William Powell was nominated for playing the bellowing and lovable 19th century domestic tyrant Clarence Day, Sr. in Life With Father. If he had to lose I'm sure Powell was glad it was to his very good friend in real life Ronald Colman for A Double Life. Still with that strange flaming red hair on top of his familiar features, Powell imprints his own personality on the leading role of the longest running play on Broadway up to that time.

Based on the recollections of Clarence Day, Jr. as played by Jimmy Lydon here, Life With Father ran for eight years on Broadway for 3447 performances. It was brought to the stage by Howard Lindsay and his two partners, writing partner Russell Crouse who adapted Day's work to the stage and life partner Dorothy Stickney who with her husband got their career roles on Broadway. The play ran from 1939 through 1947 taking America right through World War II. The time that it was written and presented to the public may account for its popularity as the public might just have wanted reassurance of American values at that critical point.

As Lindsay and Stickney had no kind of movie box office, Warner Brothers decided to acquire William Powell for the lead and cast Irene Dunne as the wise mother who has learned just the right way to handle her husband and inevitably get what she wants. Powell is a man who thinks when all else has failed, he can bellow his way through any situation. My favorite line in the play is when he tries to hire a maid and that title quote is when he's asked for references.

Warner paid a lot in loan outs for this film. Irene Dunne was not a contract employee of his studio and Elizabeth Taylor was also borrowed from MGM for the small, decorative part of a cousin that gets Jimmy Lydon and Martin Milner's hormones in an uproar. The part that Taylor plays was originated on Broadway by another future film star, Teresa Wright.

Incidentally Martin Milner reminisced many years later about the film and said of all the boys and of course Powell, he was the only natural redhead among the lot.

Edmund Gwenn fresh from an Oscar himself for Miracle on 34th Street plays the Episcopalian minister who is trying to get a large contribution from Powell for a new church. Their discussion is also a highlight of the play and the fact that Powell had never been baptized is also a subject of a lot of humor.

Father still had life well into the Fifties with a television series adapted from the play that starred Leon Ames as dear old dad.

The play, the film still have a lot of character in it.

I first heard of this movie when I was browsing a list of movies with film clips on my Cinemania CD ROM. A few years later, the movie was on AMC(American Movie Classics) and I decided to watch it. In this movie, William Powell portrays Clarence Day, a wealthy and unbaptized businessman who has a wife and four children (all being boys). One part that I liked was when his wife Vinnie bought a pug figure and Clarence hated it. He told her to get rid of it or he would for sure never get baptized. I think everyone who is a fan of classic comedy should see this film.

I used to wonder why William Powell wasn't cast as the grumpy father in Father of the Bride, since he resembled the novel's illustration much more than Spencer Tracy. Maybe he was too likable; maybe he couldn't pull off grumpy and structured, I thought. After watching Life with Father, I stand corrected. William Powell has the market cornered on grumpy and structured. He was even nominated for an Academy Award for this performance!

Before we even see him, the audience is exposed to Bill's quirks. The new servant is terrified of making a mistake, since her predecessors usually only last a few days; Irene Dunn walks her through what's expected. The coffee must be piping hot, the muffins must remain in the ceramic container until the last possible moment, the paper must be unwrinkled, the milk gets delivered in a special tin bucket, the stock market must behave itself—and when Bill Powell finally walks on screen, he corrects the foyer clock according to the time on his pocket watch. He complains constantly, berates the servants, criticizes his wife and children, and is downright hostile at the idea of hosting his wife's cousin at their house. The audience is supposed to think he's a terrible beast, especially when he treats Irene with such little respect as they quibble over the household expenses. I saw through it, as I hope many viewers will. This isn't a gruff, abusive man. This is a man trying to uphold the image of "man" in a household of four impressionable sons. In the 1800s, "man" had a very defined role to play. This film shows the difficulties and conflicting emotions involved in maintaining the role.

I really love this movie. The oldest son falls in love with a young and beautiful Elizabeth Taylor, and he tries to emulate his father as he realizes he's turning into a man. But when he tries to be gruff and controlling, it backfires. Why can't he act as manly as his father does? The truth: because underneath his exterior, William Powell isn't gruff. He loves his wife more than anything in the world. It really is a touching story.

One aspect of the movie might turn some viewers off, but I urge you to keep watching. Bill and Irene constantly argue about religion, and if you're not religious, you might brush the movie off as a "God movie". Just replace it with any other argument in your mind and keep watching the movie. The argument isn't about God, it's about the give and take between husband and wife.

Give Life with Father a try. I highly recommend it. And if you like period pieces, it's an excellent portrayal of life in the 1890s. It was nominated for set design and music Oscars, but I think Marjorie Best's costume design should have been honored. The dresses are incredibly beautiful!

If like myself you are going to watch this movie because of its director, Michael Curtiz, save yourself the trouble and avoid this rather forced comedy. Its not that the movie doesn't get a handful of laughs; it's just that the whole concept is so hopelessly out of date. Incredibly, most of the movie is spent trying to persuade the father to be baptized for fear he will burn forever in hell. The stagy production and cornball humour do not much help. A Victorian sitcom.

I was a bit skeptical about this film at first. In general, Hollywood period pieces from the 40's and 50's can be a bit too cornball for my tastes (not that that's a BAD thing, it just depends on what kind of mood you're in). But I gave this film a shot and I was pleasantly surprised. There are some genuinely hysterical moments here. And while the introductory storyline tends to drag just a bit, the true comedy soon emerges from the intermingled sub-plots. I think that the reviewers who have panned the film may have missed the point of it entirely. The character portrayals of the parents are cartoonish for a reason. Did you notice how the children are drawn in a slightly more three-dimensional light? It's because this film is, essentially, a satire. The reason the "folks" are so nutty is because the story is being told from the perspective of Clarence Day Jr. (at least, that's how it was originally written). What this movie attempts to do, and accomplishes in spades, is to poke a bit of fun at the uptight, button-down aristocracy of 19th century America. We have the excitable, self-absorbed, and completely delusional patriarch, and the neurotic, long-suffering, and religiously impressionable mother. This film rips the facade right from its hinges, and shows us what people were really like. The firm and omnipotent father is actually a stubborn but hen-pecked hypocrite. And his wife is no better! She schemes, plots, and manipulates to constantly gain control of her heel of a husband. And, quite admittedly, she usually succeeds. The kids are the only *normal* ones (except for an EXTREMELY annoying Liz Taylor, who plays her role like she's in a High School production of Guys & Dolls). Overall, a very funny film. Some of the dialogue is sparkling and hysterically clever, a model that modern-day Hollywood would do well to study and live up to. There were several laugh-out-loud moments here, and I wasn't even in a good mood! If you like the old obscure Hollywood gems, check this one out! Just make sure you're looking at this film family through the right size lens. If it could make a believer out of me, it will hook anyone!

Clare Day thinks he rules his roost and his family of four sons with an iron fist, but in reality it is his wife Vinnie who really sets the rules and hires the maids!

During a visit from their aunt Cora and her guest Mary, it comes out that Clare has never been baptized. This begins a campaign by Vinnie to get her husband baptized...while the oldest son Clarence and Mary seem to be starting a romance in spite of one being a baptist and one episcopal! Mary is played by the lovely young Elizabeth Taylor.

I love Clare's lecture to Clarence about being firm with women! Lol!

This was a sweet, family turn of the century romantic comedy.

"The tariff protects Americans from cheap foreign labor."-Clare.

Just about nothing happens; the father complains lot and treats others like dirt. He yells at the newspaper for god's sake (WHO DOES THAT?!) The kid sucks at violin and most of the kids just hang around and complain.

The only thing mildly interesting that happens was when the maid fell down the stairs while the dad was yelling at the paper. And the dad didn't even care to notice.

The movie probably ended as it began - uneventful.

I can understand it's importance as a "classical" film, but they only way anyone can really like this movie is if they, really really try to analyze it and see some sort of message or hidden meaning to this crap. There isn't much. It's not hard to animate a family setting, and there's nothing special about this film that does that.

At most, it's the equivalent of watching a couple episodes of Big Brother - and that doesn't say much.