The Man Who Came to Dinner: Movie Critique

The Man Who Came to Dinner: Movie Critique

Between 1998 and 1989, there was a big hit at the Shaw Festival where the 1936 comedy “You Can’t Take It With You” produced by Moss Hart and George S. Kaufman was released. Nin 2001, Shaw had another hit following up on their previous film. Again, under the direction of the expert director Neil Munro, “The Man Who Came to Dinner’ was released. In many ways, “Dinner” is the flip side of “You Can’t.” Dinner highlights a visit that became a prolonged stay of an extremely eccentric critic in a very tight-laced family (Kaufman, & Hart, 2000). The play is well interpreted with the liberating effect of invading chaos that is countered with a plot where a woman is offered a more ordered and more straightforward world of love.

The Man Who Came to Dinner centers on hate and love relationship between Sheridah and Maggie. Sheridah is a renowned broadcaster and critic who modeled after Alex Woolcott, a real-life critic. After giving a lecture in Ohio, Sheridah was invited by Mr. and Mrs. Ernst Stanley to dine with them at their home when he accidentally broke his hip after slipping on ice. Since he could not move, he had to recuperate at their house (Kaufman & Hart, 2000). Due to irritation from Stanley’s family, Whiteside insisted that he could not interpret his work well. Therefore, it takes the library as well as the dining and living rooms for his use while the family moves to the back of their house. It was a thrill for the family to play host at first, but after Whiteside announced that he was suing them, they were compelled to paying his outrageous international phone calls.

Furthermore, less prominent roles add to the pacing and frivolity of the film. The character Dr. Bradley played by Michael Calvon nebbish punctuates the scenes as a wannabe writer and Whiteside’s physician. Paul Michael Thomason and Carolyn Fluehr are also perky and engaging as they play the role of Stanely’s children. As the number of cultural references and that of the characters sored over the heads of many viewers especially college students, much of the solid performances to become laugh-out-loud funny did not depend on period context. The funniest character is Banjo played by Owen Virgin. His bopping, hopping physicality became an apt tribute of Harpo Marx. Furthermore, an individual can notice the similarities between Noel Coward and Beverly Carlton shown in his ability to deliver a dialogue that is tongue twisting and his ability to sing. The comedy has a quick pacing and clever writing, constant flow of funny character, never rags and does not feel long.

Despite his egomaniacal actions, Whiteside managed to affect positive changes and had a magnanimous heart. In the desires and dreams, at least of Stanley’s children, he was able to confide with them for breaking away from their tyrannical father and leading more exciting lives. However, selfishness Crips in when he toys with his secretary Maggie but this was something the individuals are prone to when they lose someone close to them. This is an active element of writing that enables the audience to feel encouraged in taking a look at the other side of something. This is the glamourous yet crazier and appealing side of life, which enables individuals to evaluate their accomplishments.

The film was entirely directed by Linda Kerns, who did the entire proceedings at an extremely fast face that worked throughout then slowing it down, especially when it came to monologues. Possessing Whiteside’s acerbic within spades, Martin acts dramatically and succeeds in putting his stylish and creative side on the character (Kaufman, & Hart, 2000). Furthermore, the plot is simple, and the director has managed to see the American tradition of the tall tale in the play shed into absurdism. Kaufman and Hart rarely produced the comedy due to the play’s large cast of widely acted humor and divergent characters. They bring out the film to be exceedingly funny. However, only individuals that can understand the reference of the people and events of the 1930s will enjoy the play. The award-winning Playwrights got it right, and the play is continuing to deliver laughs since the day it was premiered in Broadway. It has also been revived repeatedly for many years with it chortle and chuckles keeping strong.


Work Cited

Kaufman, G & Hart, M. (2000). The man who came to dinner. (2000). Retrieved from Man Who Came to Dinner (2000)/1_kr6klk9d

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