The Bishop's Wife (1947): Story of a Well Tailored Angel

"This is a picture calculated to make an audience leave the theatre with a good feeling. It has a warmth and charm that makes believable the fantasy and has been put together with complete understanding by all involved." That is how the entertainment trade paper Variety began its review of The Bishop's Wife in November 1947. It is an apt statement to make for what has become a perennial holiday favorite. Many films move us on a personal level but Christmas movies hit us right at the heart for whatever the reason. They elicit such good and warm memories, whether as in my case it was watching them with parents, grandparents and other loved ones as a youth or simply having them playing in the background during holiday gatherings or decorating the tree. They are like old friends and to enjoy them at Yuletide becomes a tradition of sentiment not to be underrated or scoffed at. Samuel Goldwyn's The Bishop's Wife is one such seasonal classic.

Could there be a more suave, debonair or charming angel than Cary Grant? The actor made the perfect Dudley, a heavenly messenger/guardian sent to answer a prayer for guidance given by Bishop Henry Brougham (David Niven), a clergyman torn between the financial politics of building a massively ornate and superficial cathedral and the emotional needs of his neglected wife and child (Loretta Young and Karolyn Grimes). A poignant story told with charm, humor and tons of Hollywood gloss, the film offers a cinematic respite from the commercial brouhaha presented in modern times.

However, the final product, known and loved by audiences today, was a far cry from that originally planned. Originally directed by William A. Seiter, he was replaced by Henry Koster (who eventually was nominated for an Oscar for his work on the film). Koster in turn switched the actors playing the parts of Dudley and the bishop. You see, Grant was originally set to play Bishop Brougham and Niven, the charming angel. Can you imagine? Another casting change came with the replacement of Teresa Wright, who was originally set to play the title role but at the time of Seiter's firing, Wright discovered she was pregnant and Loretta Young was cast. As the star trio settled into their respective roles, it became apparent that each was perfectly suited to his or her part.

The supporting cast appeared to be "heaven sent" as well, offering an assortment of characters from the wonderful Gladys Cooper, as the snobbish Mrs. Hamilton, a wealthy parishioner, whose money the bishop hopes to use in order to build his shiny new cathedral, to James Gleason as Sylvester, a friendly, down to earth cabbie, who admires Dudley's zest for life. There's also Elsa Lanchester, as the bishop's maid, Matilda. Her sense of flighty and giddy cannot be beat. There are also some carry overs from the previous years holiday offering, It's a Wonderful Life. Karolyn Grimes, Zuzu in the Capra classic, appears as the bishop's daughter Debby, while one of the boys Grimes meets playing in the snow is Bobby Anderson, young George Bailey in Life. Also on hand from Bedford Falls is Sara Edwards, who played Mary Bailey's mother, Mrs. Hatch, this time around playing a church organist.

The film is laced with touching sentimental vignettes, sure to set the mood for any lighting of the tree. When Grant's Dudley relates the Biblical story of David to young Debby, he ends his tale with a recitation of the 23rd Psalm to a captivated audience which includes the bishop's entire household. The Robert Mitchell Boys Choir sings O Sing to God, ushering in the Christmas spirit and raising goosebumps along the way and Cary even gets in on the musical feel good, playing a harp solo ~ what else would an angel play ~ of "Lost April", a beautiful composition by musical director Emil Newman (Grant was actually dubbed by musician Gail Laughton).

Not to be forgotten are Monty Wooley as a gruff professor who experiences the joys of the season after meeting the urbane angel, Sara Haden, as the bishop's secretary, Mildred Casaway and Gregg Toland's magnificent cinematography. Cary Grant was paid a handsome sum to play the handsome angel but for audiences of the day as well as those in the present, it was money well spent.

Bride of Frankenstein: A Toast to Gods and Monsters

If you saw Bride of Frankenstein (1935) as a kid on the Saturday afternoon TV matinee, you probably have fond memories of it as a fun and scary way to spend an hour and a half. If you saw it as an adult, especially one who appreciates the artistry of fine film making, you recognize it as a masterpiece of classic cinema.

The first of multiple sequels, spin-offs and remakes of 1931's Frankenstein, Bride of Frankenstein is a cornerstone of the American horror genre. Considered by many to be a superior film to the original, it is one of few in cinema history with that distinction. The film's director James Whale, also directed its predecessor, making him immortal in the monster movie world. Discussions for a sequel to Frankenstein began as early as 1931 when the original was released but securing Whale as director and developing a suitable script took several years.

The story begins with a prelude presenting the novel's authoress, Mary Shelley, recounting to Lord Byron and her husband Percy Shelley, the continuation of macabre prose, on a stormy night in pre-Victorian England. The tale then picks up where Frankenstein left off with the Monster supposedly burned in an old windmill. The film continues on to display a series of memorable vignettes that have defined the Frankenstein legend, including the Monster's meeting with a blind, kind-hearted hermit who teaches him to speak a limited vocabulary. The culmination of course is the creation of the Monster's mate, with all the bells and whistles that were missing from the original (the financial success of Frankenstein made more opulent production values possible for its sequel).

Playing dual roles as both Mary Shelley in the film's prelude, and the Monster's bride is the ever delightful Elsa Lanchester. With her lightning bolt bouffant, wide eyes and long flowing gown, her bride has become an iconic movie image and a favorite at many a festive Halloween party. Though credited for her efforts as Mary Shelley, Lanchester goes unbilled for her ghoulish role. The actress portraying the Bride is merely listed with a question mark on the cast of characters. Along with Lanchester's Bride, Ernest Thesiger creates one of the horror genres most enduring characters, Dr. Septimus Pretorius, the mad scientist/physician who tries to entice Henry Frankenstein to continue his human experiments and create a mate for his monster. Thesiger fills the movie with dry wit and a flamboyant performance. His Pretorius is over the top as he displays his tiny human Henry VIII under glass grown from cultures and drinking a cocktail with the Monster among the graves in the catacombs. Dark, sly humor actually plays a large part in the film, unlike the straightforward horror and play-it-for-screams strategy of the original. And of course Colin Clive and Boris Karloff (billed merely as Karloff) reprise their infamous roles as Baron Frankenstein and his Monster.

Universal pulled out all the stops for the production. Whale, influenced by German Expressionism, molded a highly stylized work with lavish art deco sets (the interior ceilings seem to go to the moon) with the help of art director Charles D. Hall. Make up artist Jack Pierce created the images forever associated with the characters in question. The haunting atmosphere was further elevated with John Mescall's cinematography. His close ups of local peasantry particularly give an eerily chilling effect. (Una O'Connor's Minnie the maid is a hoot. Who knew an Irish brogue would fit so well in rural Bavaria). Not to be forgotten is Franz Waxman's powerful score.

Many successors to this film would be produced, the next being Son of Frankenstein (1939) with Basil Rathbone as a somewhat sturdier Dr. Frankenstein, but none would match it in style and panache. Thanks to the gifted direction of James Whale, it is a truly mezmorizing film.