Cinema Style File--The Art (Deco) of Comedy in 1936's MY MAN GODFREY

Gregory La Cava's 1936 classic comedy My Man Godfrey is a movie I first caught on cable years ago in the middle of the night.  The aged and slightly faded film flickering in the darkness on some obscure channel did not dim its appeal.  In fact, I only remember how captivated I was from its opening until closing credits, and all of the magic in between.  Arguably, much of the movie's magic comes from Godfrey's leading man William Powell.  It was not the first time I had seen Powell on screen--my father, a police officer, is a fan of nearly everything film noir, so I had seen The Thin Man even as a child.  Needless to say I became a fan, too, particularly of Powell since he is spectacularly charming and models men's 1930s fashion so well whether it's double-breasted suits or white tie and tails.  The magic in My Man Godfrey also came from the rest of its cast and it was my introduction to Carole Lombard and all the other talented players in its ensemble--scene-stealing character actors such as Eugene Pallette, Alice Brady, Jean Dixon, and Alan Mowbray.  

As you can expect from any La Cava, the script is sophisticated and clever.  And with other films from the 1930s, it is eerie how relevant the story has become with our country's current challenges.  Powell plays Godfrey Park, a man who comes from the right family, went to the right school, and had the right job...yet his world would still come crashing down around him.  His wealthy Bostonian family and Harvard degree could not protect him from the Great Depression, and he gets hit so hard he becomes homeless...forced to live at the city dump down by New York's East River.  This is where and when we meet him, though through a quick turn of events Godfrey becomes a butler for the Bullocks on Park Avenue and the comedy begins.  Of course, the mere notion of this was funny...someone as sophisticated as Powell serving in such a position.  Yet, because of our own Great Recession today, this is sadly something that really can happen to the best of us.  Suddenly, there is much more depth to My Man Godfrey than one might think...it is a comic and charming telling of a very relatable tale that teaches the rewards of resourcefulness, resilience, and ingenuity.

Godfrey's new employers, the Bullocks, seem made of money and have a couple of spoiled daughters who regularly behave very badly. The sultry Gail Patrick, as eldest daughter Cornelia, plays a rich b**** better than I think I've ever seen.  She is sly and subtle, and just happens to have incredible chemistry with Powell...you can't keep your eyes off her.  And the loveable Carole Lombard, who plays sweeter sister Irene, brings her spirit and natural naivete to a girl we watch become a woman while falling in love for the first time. Interestingly, Powell and Lombard were once married in real life and remained good friends despite being divorced.  In fact, Powell only agreed to Godfrey if Carole--and not frontrunners Constance Bennett or Miriam Hopkins--could play the role of Irene.  The studios should thank him...their partnership is one of the greats on film.

As my Month (or so) of Art Deco comes to a close, My Man Godfrey is a movie that cannot be missed for the sheer sake of its style.  It has all the hallmarks of Deco design from the opening credits to the Big White Sets of the production.  But it is the costume design of the great Travis Banton that will really catch your eye.  He was the one who made Clara Bow the It girl of the 1920s, but even more importantly became synonymous with the style of the 1930s.  It was another case of timing matched with talent....his natural style was perfect for the era.  Glamorous yet often understated, slinky and body conscious, and using the finest of fabrications such as feathers and satin to dress his stars...women like Mae West, Claudette Colbert, Marlene Dietrich, and Carole Lombard. 

As chief designer, Banton would most often be responsible for the leading ladies alone.  Thus, in Godfrey he created Carole's gowns and her many other looks.  He was blissfully indulgent in styling her socialite character Irene.  At one point, he has her waking up in a bedroom jacket made entirely of ostrich feathers.  In another, he plays on Deco's fascination with foreign intrigue in designing her exotic Asian-inspired pajamas.  And then of course there are gowns that are quintessential Banton, such as our introduction to Irene in a beaded bias-cut.  Though he also oversaw the rest of the production's costumes, everything else was really the work of his assistant--Edith Head.  Made very much in Banton's own style, it was she who was responsible for Gail Patrick's gowns and others' outfits in My Man Godfrey.  This was one of her first real shining moments of costume design on film, so it is great to appreciate these early moments in her illustrious career. 

With such sheer perfection in the script, art direction, cast, and costume design, it should come as no surprise that My Man Godfrey is among my Sentimental Favorite Films of all time.  I have watched it over and over again--an embarrassing number of times--and it is still just as entertaining as the first.  As I've mentioned before, the upcoming TCM Classic Film Festival will be celebrating both the work of Travis Banton and Deco design, so getting to know My Man Godfrey is a great way to ready yourself for all the movies that are now only a mere month away.  I, for one, cannot wait.  Let the magic begin.

Even as homeless Godfrey Park,
William Powell smokes a pipe and his sophistication shines through

Socialite Cornelia Bullock (Gail Patrick) arrives looking to find a "forgotten man"

wearing black fur-trimmed satin dress and matching cape

Younger sister Irene (Carole Lombard) watches in her exquisite Banton beaded dress and coat
as Cornelia propositions Godfrey to be part of a scavenger hunt at the Waldorf-Ritz

Godfrey's response is to push her into a "clean" pile of ashes,

but then later agrees to help sweet Irene beat Cornelia at her own game

Alexander Bullock (Eugene Pallette) watching the insane asylum of the idle rich

within the Great White Set of the Art Deco Ritz

Mrs. Angelica Bullock (Alice Brady) brings in a goat as part of the hunt

while wearing a stand up coat collar popular in the 1930s...this one looks to be ermine

The slinky beaded dress and matching coat for Carole 

are very indicative of Travis Banton and his style for her

And Gail Patrick wears a gown from Banton's assistant, Edith Head, 

who has clearly learned the style of the master

You can feel the heat in this moment on film between Powell and Patrick

Godfrey accepts a job from Irene as a butler for the Bullocks

and meets cynical but lovable maid Molly (Jean Dixon) his first day on the job

Job #1--enter Mrs. Bullock's masterpiece of a bedroom and cure her hangover

Jobs #2 and #3--try and deliver breakfast for the Bullock sisters...

Irene awakens in a jacket made of ostrich feathers yearning for a good heart-to-heart talk

Job #4--Try not to get mistaken for a lover leaving Irene's bedroom by Mr. Bullock

First night on the job brings trouble in the form of a threat from Cornelia

who remembers being pushed into an ash pile well

Carole arrives in Asian-inspired pajamas from Banton

and Gail slinks around in this satin gown with split longsleeves from Head

Even Alice looks incredible in this cut out gown with a deeeeep back, 

a look likely from the design mind of Edith Head

A party demands a change of clothing for the girls, and 

Irene attempts drama in both her manner and her black and sheer gown

Start of the party brings wealthy family friend Tommy Gray (Alan Mowbray)

Turns out that Tommy knows Godfrey, too...from Harvard

Look at the girls' gowns as they react to Tommy's news--Cornelia ironically in innocent white lace

and Irene in black mourning the loss of Godfrey's attention

Though overly decorative for me, this is still a great short jacket for Mrs. Bullock

that gets paired with her somewhat matching dress

Godfrey and Tommy meet for drinks and we finally see him in an elegant suit and striped tie

But Cornelia crashes the reunion and once again attempts to threaten Godfrey...

I happen to be blinded by those Art Deco bracelets

She may be bad, but Cornelia looks divine in this fitted two piece suit

with its enormous 1930s style fur collar as she attempts to set up Godfrey

At dinner, Cornelia suddenly shares she's lost a valuable pearl necklace

While Mr. Bullock has his suspicions, Cornelia encourages the police to search Godfrey's room

Much to her surprise, no pearl necklace can be found...anywhere

Fashion is always cyclical and this dress on Carole 

is a great example of how the 1930s influenced design in the 1970s

Godfrey shares his ideas and the venture capital he has raised with Tommy Gray

to develop a club and put his unemployed friends to work at The Dump

Powell seeming more and more like himself through luxurious double-breasted suits

High fashion on the Great White Set of the Bullocks' living room

Irene's romantic feelings are expressed through her floral silk loungewear

Dramatic as always, Evil Queen Cornelia once again threatens in elaborate gold lame

while Godfrey resists in white tie and tails

Irene arrives in time to stop anything from happening in this bias-cut chiffon with fabric flowers

Irene feigns a faint but Godfrey quickly catches on

When he throws her into a cold shower out of frustration, 

Irene is elated and believes she's finally found proof Godfrey loves her

Unfortunately, bad news comes for the Bullocks...

they are going bankrupt just like so many others and may even face criminal charges

But because of the gratitude he felt for this family that helped by taking him in,

Godfrey had been secretly buying up shares of Bullocks' stock to save them 

Cornelia is perhaps most moved out of them all, 

especially when Godfrey empathetically expresses how much he understands her

Irene arrives too late and finds Godfrey gone and everyone, including Cornelia, crying

Art Deco's Streamline Moderne set design for Godfrey's business venture The Dump 

Irene finally tracks Godfrey down

Godfrey's office is only part of a small apartment behind The Dump

where Irene has decided they will live...

...as man and wife who live happily ever after