Film of the Week: The Man Who Came to Dinner, 1942

In 1939, the celebrated writing team of George S. Kaufman and Moss Hart were looking for a vehicle for their friend, Alexander Woolcott—a writer, critic and general media personality known for his sour disposition and cutting wit. Kaufman and Hart tried several different ideas, but none of them seemed to work. One day, Woolcott arrived unexpectedly at the lavish Bucks County estate of Moss Hart and his wife, Kitty Carlisle. Woolcott wasted no time in being as unpleasant as possible, complaining about everything, commandeering the master bedroom and living up to his reputation as a dyspeptic tyrant. Upon leaving, he wrote in their guest book, “This is to certify that I had one of the most unpleasant times I ever spent.” Later, as Hart and Carlisle recounted their ordeal to George S. Kaufman, Kaufman responded that they should count their blessings that he didn’t break his leg and have to stay. An idea was born.

George S. Kaufman and Moss Hart
The New York Times

Kaufman and Hart wrote The Man Who Came to Dinner with Alexander Woolcott in mind. The story centers around a famous radio personality—Sheridan Whiteside—who travels to Mesalia, Ohio on his lecture tour. As part of his schedule, he’s to have dinner at the home of wealthy Mr. and Mrs. Stanley. Whiteside is not at all pleased about this. Traveling with him is his long suffering secretary, Maggie Cutler. When Whiteside falls on the ice outside of the Stanley’s stately home, he’s forced to stay in the household which he quickly proceeds to tear apart. During their extended visit, Maggie meets and falls in love with a young newspaper man. Sheridan Whiteside doesn’t much care for change and enlists the help of his famous friends to separate the young couple. Among Whiteside’s friends are Beverly Carlton (based on Noel Coward), Lorraine Sheldon (based on Gertrude Lawrence) and Banjo (based on Harpo Marx). Those three characters are an homage to friends of both Kaufman and Hart.

The play opened at The Music Box Theater in New York to rave reviews. Curiously, Alexander Woolcott wasn’t available to play the part which had been created for him (however, he did eventually play Whiteside on the West Coast). Monty Woolley was cast as the irascible Sheridan Whiteside—the role which rocketed him to stardom. Kitty Carlisle was slated to play Maggie. In later productions, Harpo Marx would join the cast, making one of his few speaking appearances as he played the part that he had inspired.

Monty Woolley, Bette Davis and Ann Sheridan
Warner Brothers

In 1942, after seeing the New York production of the play, Bette Davis pressured Jack Warner to purchase the rights to the picture for Warner Brothers. She wanted to play a softer, comedic role to balance the heavy performances she’d given in The Little Foxes and Now, Voyager. Of course, Bette got her wish—but, not entirely. She was cast as Maggie Cutler, but who was to be her Sheridan Whiteside?

Davis wanted desperately for John Barrymore to play the role of Sheridan Whiteside in the screen version. Barrymore was tested, and, in some records shown as even having been hired for the part, but proved that his years of heavy drinking had taken a toll on his memory. Barrymore couldn’t recall his lines, and when he did, he was unable to keep up with the fast comedic pace of the dialogue. He wouldn’t do. Bette fumed! Monty Woolley was quickly brought in to reprise the role he’d made famous on the stage. After that, Bette Davis lost interest in the production and pouted a bit, even delaying filming for many days due to “an injury to her nose.”



"Maggie" and "Beverly Carlton"
Warner Brothers

 Despite Miss Davis’ ire, the film was a huge success and is still one of the greatest comedic films ever produced. Joining Woolley and Davis are Ann Sheridan as “Lorraine Sheldon,” Jimmy Durante as “Banjo,” Richard Travis as Maggie’s love interest (Bertram Jefferson), Reginald Gardiner as “Beverly Carlton,” Billie Burke as Mrs. Stanley, Mary Wickes as Whiteside’s nurse and Grant Mitchell as Mr. Stanley.

While some of the dialogue was softened for the film version, the picture retains all of the sharpness of Kaufman and Hart’s original play. It’s a fast-paced, feverish romp. While you may not be able to absorb all of it in one viewing, you’ll definitely get your money’s worth in laughs. This is a film that only improves the more you watch it.

Wooley, Sheridan and Durante
Warner Brothers

Here’s the trailer for the film. As is often the case with Warner Brother’s trailers of the 1940’s, it’s quite deceptive and doesn’t reflect the picture very much.