A Banquet Film

Hello, dahlings. Once more, we are discussing a favourite movie. This one's a high-earning Warners release from 1958. Its respective source-material was a 1956 bonanza of a play, which in-turn inspired a 1966 musical extravaganza. I refer to Morton DaCosta's Auntie Mame.

There are top-tier aspects of production. Designed by Orry-Kelly, its costumes ooze extravagance. Morton used stagey transitions. Under Malcolm C. Bert's supervision, the settings are stunningly crafted, particularly Mame's ever-evolving apartment. I applaud the makeup, prop and lighting folks. Auntie Mame's beautifully enacted score is composed by Bronislau Kaper. I love the kaleidoscopic opening titles. Harry Stradler, Sr. is attributed with cinematography of grandeur. William H. Ziegler's editing assisted with the movie's pacing.

Auntie Mame's ensemble cast is one of its major strengths. Producer-director Morton DaCosta cameos in the opening. Hazel Shermer, Cris Alexander, Carol Vealie, Robin Hughes, Henry Brandon, Brook Byron and Patric Knowles had memorability in their assigned roles. Jan Handzlik's Patrick was precocious, wide-eyed and endearing. Roger Smith's portrayal was corrupted, but reminiscent of the characters' younger self. Forrest Tucker exuded southern charm as Beau. Lee Patrick and Willard Waterman were entertainingly insufferable and intolerant as the Upsons. Joanna Barnes, Gloria, perfected the art of portraying the freakish fiancée. Pippa Scott was complimentary and contrasting as Pegeen. Connie Gilchrist was believably Irish and matronly as Norah Muldoon. Despite stereotypical material, Yuki Shimoda's Ito is energetic, cheeky and loyal. Though they didn't arrive in the picture until later, Peggy Cass made a a schlubby, nerdish impression as Agnes Gooch. Fred Clark, Babcock, excelled as a stuffed-shirt, fussbudgetty picaro. I personally would've preferred Hanes's Polly Rowles, but Coral Browne's Vera Charles was theatrically boozy and imperial. As our titled-character, Rosalind Russell was an utterly jocose, upper-crust, exhuberant, poignant, screen-dominator who carried the film.

This film's screenplay is marvelously written by Betty Comden and Adolph Green. They knew how to write for Roz. Their script has fidelity to the play by Jerome Lawrence and Robert E. Lee (the cool one). It's the life and times of our lead. It has vivid characters. Auntie Mame has numerous brands of humor. Its dialogue is iconic. It is incredibly tasteful and sophisticated. The story succeeds at being charismatic, sorrowful, joyous and heartwarming. It lives up to the term irreverent escapade and conveys a dandiful message.

With directing expertise, Morton translated the show to film. DaCosta had proficiency as a producer, too. Despite minor flaws, Auntie Mame is a stunner. Please live through its gloriousness.