The movie starts with Patrick's father dying, and he is sent to live with his late father's sister, who is, of course, Mame Dennis.
The movie starts off at breakneck pace and maintains that pace, like the book it is based upon.
Rosalind Rusell is stellar as Auntie Mame, an indefatigable character whose outlook on life is, "Life is a banquet, and most poor suckers are starving." (Of course, her wealth affords her her loose grip on the practicalities of life, but no more so than today).
The young Patrick Dennis is surprisingly good as an actor, as is the adult actor, Roger Smith. The whole plot revolves around Patrick's growing up and who will shape him. On one hand, we have the unbearably stuffy Mr. Babcock, who is all rules and regulations (and a snob) and on the other hand, Auntie Mame, ditzy but as loving as can be. And so the clash begins!
The movie is fashionably sophisticated for a 1950's movie passing itself off as a "progressive" outlook on life. Some of the reviews carp on the humour, calling "worn," but I suspect those people were not - like me - alive in the 1950s. I knew this kind of character growing up (not quite that ditzy, though!) and the humor and clever phrasing come at you right and left. Peggy Cass is outstanding as a frumpy woman whose greatest talent is her deadpan delivery in the movie.
Ito is a bit of a Japanese stereotype, and I still wince at how they wrote his lines, as well as Nora, Patrick's nanny. But aside from that, it is a movie to make you laugh, and moreover, to love the unconditional love that Auntie Mame has for Patrick, who she would move Heaven and Earth for. The tenderness in their solo scenes warms the heart unless someone has no sense of whimsy, in which case, go watch something dull and "sensible." A cinematic triumph for it's utter sense of zaniness, but at the same time, maintaining the core value: Lovingness. There's not another movie like it in the 70+ years I've been watching movies. I come back to it whenever I'm sad (which isn't often), but even more when I'm my usual jovial self and just want to watch a controlled pandemonium that Auntie Mame unleashes on its unsuspecting audience.
They could not make a movie like this today: people are too cynical and shut down, although it is great to see Barbie (which is close to this movie in its tone) becoming a smash hit. I have the feeling Barbie and Auntie Mame would really like each other! What could be more enjoyable to watch??
I dislike the tendency for everyone to be called "iconic" "classic" and "legendary," but this movie deserves all those accolades.
And that staircase is the unrecognized star of the movie where magical, moving - and hysterically funny - scenes take place where people come unglued, ascend, descend, or pose at the top (or bottom). It is a metaphor of the most illuminating, heartwrenching, moments of the movie, where tears, sadness, pain, laughter, but mostly Joy, take place. (Auntie Mame's only disagreement with Patrick takes place at the foot of the staircase (when he announces he's met THE girl (who's a snob and a half), but chastises her for her bohemian lifestyle which he doesn't want his precious "Glory" to know about. When she asks him if Glory should know that she finds him the most bourgeoise, babbity, little snob on the Eastern Seaboard....," it looks like a catastrophe is unfolding as he turns to leave, looking terribly hurt, but only saying "Well, it's been nice knowin' ya". And then Auntie Mame, tears in her eyes, calls out "Patrick" and he turns back to her (he's also almost in tears) and says "Auntie Mame" and she runs to him, arms outstretched. He also loves her dearly. And she tells him she loves him so, and she would do ANYTHING for him: join the DAR, "denounce Calvin Coolidge as a Bolshevik". I can't get through that scene without tears coming into my eyes. Unconditional Love - on the staircase! That staircase is a hero, I tell ya!!!
The movie starts off at breakneck pace and maintains that pace, like the book it is based upon.
Rosalind Rusell is stellar as Auntie Mame, an indefatigable character whose outlook on life is, "Life is a banquet, and most poor suckers are starving." (Of course, her wealth affords her her loose grip on the practicalities of life, but no more so than today).
The young Patrick Dennis is surprisingly good as an actor, as is the adult actor, Roger Smith. The whole plot revolves around Patrick's growing up and who will shape him. On one hand, we have the unbearably stuffy Mr. Babcock, who is all rules and regulations (and a snob) and on the other hand, Auntie Mame, ditzy but as loving as can be. And so the clash begins!
The movie is fashionably sophisticated for a 1950's movie passing itself off as a "progressive" outlook on life. Some of the reviews carp on the humour, calling "worn," but I suspect those people were not - like me - alive in the 1950s. I knew this kind of character growing up (not quite that ditzy, though!) and the humor and clever phrasing come at you right and left. Peggy Cass is outstanding as a frumpy woman whose greatest talent is her deadpan delivery in the movie.
Ito is a bit of a Japanese stereotype, and I still wince at how they wrote his lines, as well as Nora, Patrick's nanny. But aside from that, it is a movie to make you laugh, and moreover, to love the unconditional love that Auntie Mame has for Patrick, who she would move Heaven and Earth for. The tenderness in their solo scenes warms the heart unless someone has no sense of whimsy, in which case, go watch something dull and "sensible." A cinematic triumph for it's utter sense of zaniness, but at the same time, maintaining the core value: Lovingness. There's not another movie like it in the 70+ years I've been watching movies. I come back to it whenever I'm sad (which isn't often), but even more when I'm my usual jovial self and just want to watch a controlled pandemonium that Auntie Mame unleashes on its unsuspecting audience.
They could not make a movie like this today: people are too cynical and shut down, although it is great to see Barbie (which is close to this movie in its tone) becoming a smash hit. I have the feeling Barbie and Auntie Mame would really like each other! What could be more enjoyable to watch??
I dislike the tendency for everyone to be called "iconic" "classic" and "legendary," but this movie deserves all those accolades.
And that staircase is the unrecognized star of the movie where magical, moving - and hysterically funny - scenes take place where people come unglued, ascend, descend, or pose at the top (or bottom). It is a metaphor of the most illuminating, heartwrenching, moments of the movie, where tears, sadness, pain, laughter, but mostly Joy, take place. (Auntie Mame's only disagreement with Patrick takes place at the foot of the staircase (when he announces he's met THE girl (who's a snob and a half), but chastises her for her bohemian lifestyle which he doesn't want his precious "Glory" to know about. When she asks him if Glory should know that she finds him the most bourgeoise, babbity, little snob on the Eastern Seaboard....," it looks like a catastrophe is unfolding as he turns to leave, looking terribly hurt, but only saying "Well, it's been nice knowin' ya". And then Auntie Mame, tears in her eyes, calls out "Patrick" and he turns back to her (he's also almost in tears) and says "Auntie Mame" and she runs to him, arms outstretched. He also loves her dearly. And she tells him she loves him so, and she would do ANYTHING for him: join the DAR, "denounce Calvin Coolidge as a Bolshevik". I can't get through that scene without tears coming into my eyes. Unconditional Love - on the staircase! That staircase is a hero, I tell ya!!!