Review: The Film, Topper…

I first heard of this movie a few weeks ago at BaltiCon 60, where a congoer told me about it after I handed him one of my Ectoverse, LLC. business cards. “There’s ectoplasm in the film. Cary Grant talks about it.”

If that’s not an endorsement for a film, then I don’t know what is. 

Topper (1937), a screwball comedy about the fun of being dead, stars Cary Grant (His Girl Friday) as George Kirby, Constance Bennet (The Easiest Way) as his wife Marion, and Roland Young (The Philadelphia Story) as Cosmo Topper, in an Oscar-nominated performance. George and Marion die suddenly in a car accident, and wonder why they're still on earth. Topper is a wealthy bank president who gives new depth to the term 'henpecked'. His wife, portrayed by Billie Burke (Dinner at Eight), oversees every facet of his existence, leaving him unable to take additional time in the shower without being interrupted. 

Needless to say, Cosmo Topper is unhappy. 

And George Kirby annoys him—when he was alive, anyway. An early boardroom scene encapsulates this idea quite nicely, where George, who loudly hums during the reading of the annual report, irks the other board members as well. Also, it is established well in the beginning that the Kirbys are carefree partiers who often attend several clubs in one night and stay up until the milkman makes his deliveries. 

George and Marion soon realize that they have a mission to complete before they can reach Heaven: to help poor Cosmo Topper. What comes next is true farce genius, especially from Mr. Young, who, with his perfectly timed physical comedy hijinks, earns his award nomination. In one scene, he walks through the lobby of a hotel as if two people are holding him by the armpits, almost carrying him out. 

Constance Bennet, who strangely reminds me of a blonde Betty Boop—with her square face and her large, expressive eyes—is one to watch as well. Her chemistry with both male actors is almost tangible; she can light up a room and make everyone else therein sparkle. 

The worldbuilding in this movie was somewhat inconsistent, though not excessively so.

It seems that the abilities of the ghosts were treated as an afterthought, rather than being integrated into a cohesive set of world rules. However, it's important to remember that this film was designed as a supernatural screwball comedy, prioritizing the screwball elements and humor over the supernatural aspects.

I recommend this film as a delightful one-off, yet not worth multiple viewings.