Auntie Mame (1958)

I've never seen AUNTIE MAME until I was a full grown man and have seen countless of films of all sorts, from old Hollywood movies to experimental flicks from Europe to trashy, exploitation films. I've heard of AM but never sought it out. So one day I watched it when it was playing on some classic movie channel and I'm glad I did. AUNTIE MAME is a great film, one of those larger-than-life kind of films that they really don't make anymore. It's most definitely top drawer.

After I saw it for the first time, my initial complaint about AUNTIE MAME was that it's basically a filmed stage play. Nothing too difficult about that: just plunk a film camera in the middle of an empty theater and shoot the play. But after seeing the widescreen version on the DVD (as opposed to the full-screen presentation on TV), my admiration for it has grown exponentially and now see how special this film is. The folks behind the camera created something more than a filmed stageplay. The look of it (the pastel colors), the acting, everything perfectly suits the movie and they didn't need to change anything about it.

The only negative aspect I still have about AM though is the transition between young and older Patrick. The actor who plays young Patrick is very charming and fun and we become accustomed to seeing him (the heart of the movie happens during the first part) so when they change from young Patrick to older Patrick, I'm always jarred about this sudden change (besides, I've never cared much for the older Patrick). They probably should have added some scenes where Mame sees the boy grow up and becomes a young man. But that's my only critique of AUNTIE MAME.

The rest, it's just about perfect: Rosalind Russell is flawless as Auntie Mame, the craziest aunt you can ever ask for. Her delivery is amazing and I'm always in awe of her complete understanding of the character (as opposed to Lucille Ball in the dreadful musical MAME). The cast of supporting actors are great, certainly Coral Browne (wish she had more scenes though). Again, the look of the film is a revelation on DVD (great use of Cinemascope) and the story is wickedly subversive with endlessly quotable dialogue (Exclusively what and restrictive to whom?) which, in the end, is the main reason why I really like this film. The story is a tad episodic, and like I've said before, the transition between young and old Patrick could have been done a bit better but story is about Mame's adventurous lifestyle and the episodic aspect of the screenplay suits it to a T. In fact, I'm glad the film didn't settle with just one boring storyline.

Wickedly funny, heartwarming and great to look at. What more can you ask for?

Fmovies: St. Iranaeous said it: "The glory of God is man fully alive."

Auntie Mame in her own way lives this life. This may not appear to be a deep movie. But, Mame lives a life that as Agnes Gooch says "I see what she's been living. And I see what I've been missing." She doesn't miss a moment. She's a caricature for so many of the things that go wrong with "growing up" and becoming "mature and responsible". At the end of the day Mame shows the possibilities of a life led to the full. Of a life that is truly vital and alive. This is a movie everyone who wants to leave this world without leaving money on the table should watch and take to heart. Mame is childlike, fun, and living without fear of what others think. This is on my top 10 list.

"Auntie Mame" is a comedy for all time. It was released in 1958, and it remains a cinematic treasure for all to enjoy. Rosalind Russell gives the performance of her lifetime. She remains quick and witty throughout the film as Mame Dennis, the delightfully funny aunt of Patrick Dennis whose deceased father puts her in charge of his life. The author, also by the name of Patrick Dennis, deserves kudos for this excellent film adaptation. One of the more memorable characters, Agnes Gouch, played by Peggy Cass, provides the audience with comic antics that make you chuckle for days after viewing this picture. It is a perfectly delightful comedy that must be in the serious collector's film library. Don't miss it.

Auntie Mame fmovies. With a perfect match between character and actress, Rosalind Russell's unforgettable performance as "Auntie Mame" is almost enough to carry the whole movie by itself. The story is also interesting, if quite contrived, and most of the supporting cast helps out when needed. The variety of settings and situations also helps to make the movie an effective portrait of a life.

The story works best when taken as an appreciative but light-hearted portrayal of a memorable character. Many of Mame's adventures are stylized, and they work best when not taken too seriously. Given that, there are plenty of amusing sequences, and just enough thoughtful moments to maintain some balance.

Russell herself is in her element. With a character whom it is almost impossible to overplay, she gives the role plenty of energy and charm. She also works very well with the other characters, giving believable (given the character) and usually interesting reactions to what they say and do.

In the supporting cast, Forrest Tucker and Peggy Cass make good use of their scenes, and Fred Clark works well as Mame's frequent adversary. Coral Browne gets some good moments as Mame's old friend. The filming was approached in a rather stagy fashion, yet much of the time this seems appropriate. All told, the movie has a number of strengths, yet the memory most likely to remain is Russell's portrait of Mame herself.

From the cartoon kaleidoscope opening to the last walk up the staircase for Mame Dennis, this comically-contrived and highly theatrical movie version of the celebrated Broadway success is nevertheless pleasing in almost every sense. Director Morton DaCosta, who also helmed the stage version, uses the theatricality of the piece to his advantage, giving the proceedings the shiny look and feel of a holiday bauble. The movie takes off running, bursting with chatter and frivolity, and Rosalind Russell is a great crazy-quilt hostess, often going in three directions at once. The story of an orphaned lad in 1928 who goes to live with his batty aunt in New York City started life as a book by Patrick Dennis, with Russell playing the lead once it was turned into a play. The film-version doesn't try to disguise the stage origins, but then it doesn't really have to; DaCosta keeps the pacing so brisk, with characters entering and exiting rapidly, that initially the viewer may feel as though something important may have been missed. The picture isn't loaded down with artificial charm. On the contrary, the romantic sub-plot between Russell and oil tycoon Forrest Tucker (which, again, is quick--in and out) is genuinely sweet (this is Tucker's triumph as much as it is Russell's) and the supporting players are impeccably well-cast, bouncing off each other like frenetic ornaments. While the plot does slip into an episodic structure (and does feel a bit lengthy), the smooth maneuvering of characters and quirks and hang-ups and hang-overs is an awful lot of fun. As for Russell, she gives shading and feeling to this woman; her exuberance can be taken as a put-on (for laughs), yet we never lose sight of Mame Dennis as a ballsy, bright lady, and she never lapses into bitchiness. Mame may have been real, or maybe just a literary confection, but she isn't a phony. She believes life is a banquet, and gets us to believe it too. *** from ****

Rosalind Russel in the role of a lifetime. Auntie Mame leads her beloved nephew on a roller-coaster ride from riches to rags back to riches, always teaching the boy to "live life to the fullest". The story begins just prior to the great stock market crash of 1929 and spins into present day (1958).

There are delightful moments with colorful characters, most noteworthy "Miss Gooch", an unwed mother and thus an outcast of respectable society. There are several touching scenes when the family is suffering in the great depression, but just as many funny ones, i. e. where Auntie Mame puts some biggoted snobs in their place.

I enjoyed this film slightly more than the later Lucille Ball musical version. Although Rosalind Russel is quite flamboyant, Lucille Ball is completely "over the top" and thus less credible. I recommend the 1958 original over the remake, although both are wonderful entertainment.