Steineded How sad is this?

Phonearl Good start, but then it gets ruined

Tedfoldol everything you have heard about this movie is true.

Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Steffi_P The 1930s were perhaps the golden age of the romantic comedy, and one way this is proved is by how many sub-genres the 30s romcom can be divided into. There were the "pre-code" bedroom farces, the screwball comedies which began with It Happened One Night, and the musical romcoms, which virtually all musicals were before they gained a layer of dramatic maturity in the 40s and 50s. The Good Fairy, as its title suggests, is a prime example of yet another sub-genre – the contemporary, urban fairy tale. The beautiful princess is a cinema usherette, the magical kingdom is a modern city, but this is still a simple yet sincere story of love conquering all.These stories can seem a tad daft or childish, especially when compared to the sophistication and raciness of the classic screwballs. The Good Fairy however makes its innocent sweetness palatable by never getting too close to reality in its setting or situations. The Eastern-European location is reminiscent of the divine "Ruritanian" style of the early Paramount musicals. Preston Sturges's dialogue is witty enough to keep a continuous background level of silliness without threatening to distract from the plot. The original story, by the way, is by Ferenc Molnar, whose most famous work is Liliom (upon which Carousel was based) and while the Good Fairy is not supernatural there are many similarities in tone.Director William Wyler could have treated the Good Fairy as a straightforward comic ramble, but he leaves the superb cast to bring out the funny business. He instead adds depth to the love angle, shooting as if this were a serious romantic drama. One significant trick he pulls is the in the pace he gives to different parts of the film. Margaret Sullavan's dinner with Reginald Owen and the scenes at the party are very busy, with the crowds in the background constantly moving, sometimes passing in front of the principle actors. This gives a daunting atmosphere and prevents the scenes from getting in any way romantic. In contrast, Sullavan's scenes with Herbert Marshall are at a more relaxed pace, in long unbroken takes, and this brings out the warmth of their moments together.And now onto that sublime cast, which is surely the best thing about the Good Fairy. The picture opens with Alan Hale, who gets things off to a suitably silly start. Frank Morgan and Reginald Owen have a hammy bluster about them which adds to the aforementioned bustle of those early scenes. It may seem odd to see Eric Blore out of his familiar butler territory, but it's not a problem. Blore is so naturally entertaining I would quite happily watch him playing Lady MacBeth. Pushed and pulled between these oddballs, Margaret Sullavan gives the one naturalistic performance of the whole show, and a remarkable one at that. And then there is Herbert Marshall, one of the most intrinsically likable players of the era. It's odd, because Marshall looks and sounds a lot like George Sanders, but while Sanders looks like the kind of bounder who writes relatives out of his will on an annual basis, Marshall is the sort of man you'd trust with the pin code to your life savings. And that's why he works so well here. In fact, the only bad thing about Marshall's casting is that the barber is right – he really does look better with the beard.There are really no flaws in the Good Fairy, at least none worth dwelling on. The only reason I wouldn't call it a masterpiece is that there is nothing supremely good about it. It is emotional without being poignant, funny without being hilarious. But the Good Fairy entertains, just as a square meal fills us up, and who would ask for a gourmet dinner every night of the week?

Neil Doyle Here's a film that did succeed as a charming comedy when it first opened at Radio City Music Hall back in 1935, based on a play by Molnar that had been a very successful stage comedy. And given the fact that MGM produced it with a handsome cast and gave it a director like William Wyler, it ought to be something to shout about.Not so. MARGARET SULLAVAN, first of all, is an acquired taste. She's not a conventional Hollywood face by any means--in fact, she's really a drab little wren--but with MGM's make-up department and some softly appealing close-ups, she makes a presentable leading lady. It's her voice and mannerisms that you have to get used to--much the way Katharine Hepburn took the country by storm and then was declared "box-office poison" when she became too mannered.The story is a trifle with a naive girl re-arranging the lives of three men she tries to help--but caught up in a web of deception. The well meaning girl has a waiter, a lawyer and a rich magnate all in a stew once she starts her fibs. This was re-made in the '40s as a Deanna Durbin film with music, of course, and maybe that's what helped I'LL BE YOURS become a more sprightly version of the tale.This is strictly for fans of Margaret Sullavan as the story and situations are a bit too contrived for comfort. HERBERT MARSHALL as the lawyer, REGINALD OWEN as the waiter and FRANK MORGAN as the millionaire all do well enough but no one can overcome the fanciful script that is more foolish than funny.

MartinHafer Margaret Sullavan plays a lady who was just released into the world from an orphan asylum where she had spent her entire life. As a result, she's incredibly naive about the world. She soon meets nice-guy Reginald Owen decides to take it upon himself to follow her and protect her from evil men who might try to take advantage of her. Owen is a waiter at a fancy hotel and he tries to keep Sullavan from getting mixed up with a rich old lecher, played by Frank Morgan. But Sullavan doesn't realize that Morgan is a potential threat and doesn't understand Owen's insistence that she avoid Morgan. It's pretty funny watching Owen whisking in and out of the private dining room where Sullavan and Morgan are about to eat--and he uses every excuse in the world to interrupt. However, Morgan is not deterred and promises to do ANYTHING for Sullavan. Sullavan is so naive that she thinks Morgan is doing this just out of the goodness of his heart.Eventually, however, even naive (and dim) Sullavan seems to understand that Morgan is trying to seduce her and so she panics and tells him she is married. When he asks her to whom, she picks a name out of the phone book--a very poor but honest lawyer played by Herbert Marshall. Morgan STILL isn't deterred and offers to help Sullavan's 'husband'--sort of a "quid pro quo" arrangement where he helps Marshall in order to eventually win Sullavan's heart.Later that day, Morgan goes to Marshall's office and offers him a huge salary to become his lawyer in charge of his multinational meat packing company. Marshall ecstatically accepts and has no idea why this offer came his way.Soon afterwords, Sullavan tracks down Marshall and they do actually fall in love. This is a tremendously cute and romantic portion of the film. Sullavan plans on telling Marshall why this good fortune has come this way, but decides against it because Marshall thinks that it must be his reward for being a decent and honest lawyer! However, into this bliss returns Morgan who wants payback for his 'good deed' for Marshall. Sullavan is shocked to see that she is expected to reciprocate and a very, very, very determined Reginald Owen once again returns to save the day--kidnapping Sullavan! Morgan gives chase and they all end up at Marshall's office--at which point Morgan is furious at Marshall's wife for creating this mess. Marshall, who is unmarried, is baffled about this 'wife' and a big argument ensues. This portion of the film is hilarious--especially when Sullavan tries to get Marshall to say that they are married! Eventually, they all realize that the problem was all orchestrated by Sullavan. But, since she really is such a sweet person, it all works out for a very happy (if a bit contrived) ending.If the plot sounds a bit hard to believe, then you are correct. But, with romantic comedies like this, you are expected to suspend disbelief. Provided you can do this, then the movie is terrific with excellent romance, sparkling dialog and a witty yet adult tone to the film. While not exactly a 'screwball comedy' like BRINGING UP BABY or MY MAN GODFREY, it is very funny and definitely more romantic. A wonderful balance and a wonderful but forgotten picture.

theowinthrop Before "Christmas In July" and "The Great McGinty" Preston Sturgis was a screenplay writer - one of the two great screenplay writers of the 1930s who graduated into very respectable directorial careers (the other being Billy Wilder, of course). Oddly both men cut their abilities at Paramount, not MGM. And both claimed that they were dissatisfied with the ways two of their best scripts were shot ("Easy Living" and "Remember The Night"), butchered (in their opinion) by the same director: Mitchell Leisin.Actually this was hardly fair to Leisin. If he did not have quite the cynical bite of either Sturgis or Wilder, he did not ruin their screenplays. He tended to make characters more human. Moreover, it is hard to support the comment about "Easy Living", when Leisin is credited (not Wilder and Charles Brackett his partner) with the most famous scene in that film: Leisin created the Automat scene where all the doors of the Automat food compartment fly open and all the bums in New York City run amok getting free food! This was not ruining a film, but improving it.Sturgis' screenplays were an interesting group. He wrote the screenplay for the Edward Arnold biography "Diamond Jim". He also did the Ronald Colman - Basil Rathbone film "If I Were King". He also did the Bob Hope - Martha Raye - Andy Devine comedy "Never Say Die". His screenplay work was generally quite sharp, and never sharper (prior to his own directing) than in "The Good Fairy".Margaret Sullavan plays Luisa Ginglebusher, who has just come of age, and has to leave the convent school presided over by Beulah Bondi. Luisa has been well brought up, and she is determined to live up to the best traditions. One thing is her determination to do good. Naturally, she is like a wide eyed lamb in a world of wolves. Sure enough she soon is taken (briefly) under the wing of an arch-wolf, Cesar Romero. But she finds she has attracted a good fairy of her own, Detlaff the waiter (Reginald Owen). If one thinks of Owen solely from his nice performance as Ebenezer Scrooge, it is wonderful to see him kick off his comic shoes and timing in a film like this. He sees Luisa as a decent girl, and she is making sure she remains that way in the wilds of the wicked city of Budapesth. But Luisa sees herself as a good fairy, and she picks, out of a telephone book, a name of a person to help. It is a lawyer, Dr. Max Sporum (Herbert Marshall - complete with chin whiskers). Sporum is a fiercely honest attorney (which explains the lack of clients). Luisa, when she discovers this, decides to encourage customers. She has attracted one old goat: Konrad a rich meat factory owner (Frank Morgan). She manages to convince him that she is married to the struggling Sporum, and that she would do anything to help her "husband" make a success. Konrad takes the hint, and goes to Sporum to make him his lawyer. Sporum is amazed but thinks Konrad was told about him by an old law professor, Dr. Stanislav Metz (Eric Blore). When Luisa talks to him about his success afterward Sporum is still in a state of euphoria (he took some of the first retainer money to buy a pencil sharpener). Luisa does suggest some new clothing and he shave off his whiskers.Eventually Luisa is in over her head, as she tries to balance Sporum (who she is falling for), Konrad, and the guardian angel Detlaff. And it's done quite well. Look at the scene where Detlaff is serving Konrad and Luisa in the restaurant and keeps knocking every possible dish Konrad suggests they order ("What kind of restaurant is this?", a perplexed Konrad/Morgan asks). The scene where Marshall has to shave his beard (Luis Alberni is the barber - also with a beard) is brief but funny, as Alberni tries to talk Marshall out of the sacrifice. He just barely loses.It was a wonderful comedy, hinting at what the writer was capable of. And with names like Sporum and Ginglebusher future Sturgis names like Kockenlocker and Hackensacker were just around the corner. One only regrets that none of the leads, except Cesar Romero, ever appeared in a Sturgis film when he was directing them.