How on earth did it take me so long to see 'The Bishop's Wife?' Actually can't really find an excuse really as to why it wasn't seen or heard of sooner, but part of me is feeling a little ashamed for not doing so. Love Christmas films, love feel good films, Cary Grant is one of my favourites and there is a great cast here. The story also sounded very charming. Henry Koster is not a favourite director of mine, but he was responsible for 'Harvey' (am very fond of that film).
After such a nightmare of a year, thank goodness this little miracle came along and in all honesty brightened up what was turning into a fairly bleak life. 'The Bishop's Wife' is easily one of Koster's best and one of the few of his to wow me. It is also a fine example of how to do a feel good film, which it epitomises, gives off the festive feel beautifully and it contains not just one of Grant's best performances it also contains one of his finest lines. Any signs of a troubled production is not obvious at all.
'The Bishop's Wife' is beautifully made for one thing, with some very stylishly beautiful photography. Both Grant and Loretta Young look fabulous in the various close ups and long shots and the darker lighting is very atmosphere. Not to mention the wintry scenery and the simple but impressive visual effects (wisely kept at minimum). Koster provides some of his most accomplished directing, this is much more than just competent but undistinguished level but is instead very skilled and sensitive. Nicely scored too, in good keeping with the gentle mood.
Can't find anything to fault the script for, it's thoughtful and lovingly balanced dialogue that is neither too heavy and complicated or too frothy and simplistic. There is some lovely gentle and genuinely amusing humour here as well as an emotional impact that never goes overboard on the sentimentality and an endearingly good nature impossible to resist. Any darker elements, where Dudley does become not as likeable, don't feel jarring or distasteful. It doesn't feel preachy either, even in the moral dilemma plot strand where it had the biggest danger of being, and flows naturally. The standouts being the last lines and Dudley's "the only people who grow old were born old to begin with."
Furthermore, the story is very warm-hearted and made me smile and well up in equal measure. Was also very surprised that 'The Bishop's Wife's' story is a lot more eventful structurally and emotionally complex than most films that fit under the feel good category, feel good done with substance. The moral dilemma is especially well done, though the skating scene is very amusing and sweet and nothing feels too forced or too neat. The substance is not just there in the story but also in the characters, these characters are a lot more complex than what they seem on paper initially and the film handles the characterisation in a way that is not cliched or one-dimensional (all having shades of light and dark, not just beige).
Grant gives one of his best performances in a tough role, personality-wise it is vintage Grant (charming, subtle, endearingly mischievous, warm in presence but with a tough edge) while with a lot of nuance and honesty. Young matches him beautifully in the charm department and the performance is full of allure and sensitivity without being bland. Their chemistry is pure magic. David Niven is suitably cynical yet sympathetic. James Gleason, Monty Woolley and Elsa Lanchester flesh out what could have been stock roles beautifully and Gladys Cooper relishes playing a dragon of a character.
Concluding, wonderful film. 10/10
After such a nightmare of a year, thank goodness this little miracle came along and in all honesty brightened up what was turning into a fairly bleak life. 'The Bishop's Wife' is easily one of Koster's best and one of the few of his to wow me. It is also a fine example of how to do a feel good film, which it epitomises, gives off the festive feel beautifully and it contains not just one of Grant's best performances it also contains one of his finest lines. Any signs of a troubled production is not obvious at all.
'The Bishop's Wife' is beautifully made for one thing, with some very stylishly beautiful photography. Both Grant and Loretta Young look fabulous in the various close ups and long shots and the darker lighting is very atmosphere. Not to mention the wintry scenery and the simple but impressive visual effects (wisely kept at minimum). Koster provides some of his most accomplished directing, this is much more than just competent but undistinguished level but is instead very skilled and sensitive. Nicely scored too, in good keeping with the gentle mood.
Can't find anything to fault the script for, it's thoughtful and lovingly balanced dialogue that is neither too heavy and complicated or too frothy and simplistic. There is some lovely gentle and genuinely amusing humour here as well as an emotional impact that never goes overboard on the sentimentality and an endearingly good nature impossible to resist. Any darker elements, where Dudley does become not as likeable, don't feel jarring or distasteful. It doesn't feel preachy either, even in the moral dilemma plot strand where it had the biggest danger of being, and flows naturally. The standouts being the last lines and Dudley's "the only people who grow old were born old to begin with."
Furthermore, the story is very warm-hearted and made me smile and well up in equal measure. Was also very surprised that 'The Bishop's Wife's' story is a lot more eventful structurally and emotionally complex than most films that fit under the feel good category, feel good done with substance. The moral dilemma is especially well done, though the skating scene is very amusing and sweet and nothing feels too forced or too neat. The substance is not just there in the story but also in the characters, these characters are a lot more complex than what they seem on paper initially and the film handles the characterisation in a way that is not cliched or one-dimensional (all having shades of light and dark, not just beige).
Grant gives one of his best performances in a tough role, personality-wise it is vintage Grant (charming, subtle, endearingly mischievous, warm in presence but with a tough edge) while with a lot of nuance and honesty. Young matches him beautifully in the charm department and the performance is full of allure and sensitivity without being bland. Their chemistry is pure magic. David Niven is suitably cynical yet sympathetic. James Gleason, Monty Woolley and Elsa Lanchester flesh out what could have been stock roles beautifully and Gladys Cooper relishes playing a dragon of a character.
Concluding, wonderful film. 10/10