Por momentos tiene el aire de screwball comedy, pero este filme de Cukor es de lejos un drama amargo sobre la crisis y el fracaso de la sociedad aristocrática. Lo genial es que esto no solo es a propósito de la Gran Depresión y, en consecuencia, de la bancarrota colectiva, sino también a propósito del amor, esa derrota íntima con que los personajes conviven. Amores platónicos del pasado, amores egoístas del presente.
Apparently between 1929-1934 Hollywood movies didn't have to adhere to censorship guidelines. Many of the questions raised during that period weren't further explored until later. ("Pre-Code" Hollywood Films) Not sure about the year in which the film was set but it was set in New York.
Just a classic. Dressler nearly steals the show from all the immense talent assembled for this one, and deserves particular credit. An overall somber tone fills the comic film, as essentially everyone is broke but trying to act like theyre unaffected by the depression. The Barrymores give great performances here, one of only a few films they made together. Essential viewing for classic comedy fans
A bit too theatrical but undeniably delightful and rendered with the cinematic elegance that characterized Cukor's entire career. His masterful direction of actors is also wonderfully present in this multifaceted all-star comedy. Dressler and John Barrymore are particularly brilliant in wildly different registers.
Dressler gave me the laughs and Barrymore gave me the tears.Harlow very convicing as the née low class now rich bitch,all the kitchen drama that drove people to hospital,jail and craziness made me laugh till crying and the scene in wich the actor is called a "corpse" really hurted me. And what about that smoking maid?.
Screenplay by: Frances Marion, Herman J. Mankiewicz, George S. Kaufman, Edna Ferber, Donald Ogden Stewart, then throw-in Selznick and George Cukor not to mention more MGM stars than there are in heaven--all flouncing around in Adrian gowns. Perhaps it was "too big to fail," but seemed to be missing something integral--something beyond froth; a reason for its existence maybe.
Producer David O'Selznick and director George Cukor's sought to recreate the success of the star studded, Oscar-winning GRAND HOTEL, and the result was DINNER AT EIGHT, yet another glamorous, star studded ensemble comedy starring Jean Harlow, John Barrymore, Billie Burke and many other early Hollywood stars. It's an entertaining Depression-era comedy of manners, buoyed by fun performances, esp. by Burke and Harlow.
Cuckor's first masterpiece of his long and impressive career seems to prognosticate Renoir's The Rules of the Game. A multifaceted, subtle, tenuous and elegant adult comedy that came during a time dominated by slapstick and screwball.Jean Harlow excels everyone with her enticing and almost whimsical performence.The editing, White color schem and Adrian's stunning costum design are flawless.