JohnHowardReid Made at Denham and Pinewood Studios. Producer: Clive Brook. Executive producer: Sydney Box. Independent Producers. Copyright 10 February 1945 by English Films, Inc. New York opening at the Republic: 27 January 1945. U.S. release through English Films (later Eagle Lion). U.K. release through J. Arthur Rank's General Film Distributors: 22 May 1944. Australian release through Gaumont-British-Dominions/20th Century-Fox: 23 August 1945. 80 minutes. Originally banned in Australia, the version finally shown was "reconstructed" to 66 minutes. SYNOPSIS: A trial marriage between two couples results in humorous complications. NOTES: The original 1930 On Approval, directed by and starring Tom Walls, had taken big money in Australia at a time when unemployment was rife and those on welfare were legally forbidden to enter a cinema. Also at a time when British films were not a quarter as popular generally with Oz patrons as in 1945. The new 1944 On Approval was a sure-fire bet to break ticket-selling records. The timing was perfect. The war was almost over. The men would soon be home, and what better escapism to welcome them back to civvy street? But then the censor stepped in. COMMENT: Directed with remarkable fluidity and style, this elegant, polished, witty, never-faltering comedy of manners is a constant joy from go to whoa. Partly our pleasure derives from Lonsdale's constantly sparkling quips and his delightfully contrasted characterizations. Partly as said from Brook's imaginative, Lubitsch-like direction with camera movements themselves contributing to the fun. And partly from the really side-splitting performances contributed by all the players, the principals especially, and cameo artists Elliot Mason and Hay Petrie. Wonderful entertainment for connoisseur and casual picturegoer alike, it's a marvelous treat to finally see the full-length On Approval.

MartinHafer ON APPROVAL has very, very glowing reviews so far and I am not surprised. It's a smart and funny comedy of manners that had a freshness that pleasantly surprised me. However, at the same time, I understand that this is NOT a film for everyone, as its droll sense of humor is certainly not what the average person would enjoy. In other words, it is probably more for a niche market--people who can enjoy a funny film with great subtlety (such as an Oscar Wilde play). In other words, if the humor of Jim Carey and Rob Schneider make you laugh, then you probably aren't a good candidate to see ON APPROVAL.In the beginning of the film, a narrator talks about love during recent history. Eventually, this takes the movie back to the mid-late Victorian era. I loved this part, as occasionally the characters broke character and talked to the narrator. This took me by surprise and let me know this was not the typical comedy.The story then focuses on four middle-aged upper class people--two men of noble birth but with less than noble bank accounts and two ladies of better financial means. They are all single and the two men both seem to think marriage (finally) is a good idea to solve their financial woes--in particular, Richard's dire economic problems. If he were to marry the rich Helen, he could live a very, very comfortable life. There isn't a whole lot of love behind his proposal and it's probably in light of this that she has a shocking but intelligent solution--they will go off on a vacation together and see how it is to act like husband and wife for a few weeks. However, much to Richard's chagrin, this does NOT grant him conjugal rights--after all, this is the Victorian era and Helen brings along a friend to guarantee this.Now these are not the only two who go on this vacation. The very boorish and rude George insinuates himself with Richard to ostensibly help him, though it seems he's along much more as a freeloader as well as to woo Helen's American friend and chaperon, Maria. Most of George's contribution to the effort is to try to increase the likelihood Richard beds Helen...though the film never is so bold as to state this explicitly. However, for the most part, George is just in the way.When they arrive, the servants in this Scottish retreat soon leave--refusing to stay as it ends up that the four unmarried people will be living in the same mansion (gosh, what a shock). So, the four of them are expected to cook and wait on each other. In hindsight, this is a very good thing, as it either brings out the best or the worst in each of these four--leading to a few twists and surprised.The film has sparkling dialog and a nice wit. It's rare to see such a well-written film and managing to gently poke fun at Victorian morality works very well because of this writing. The acting, likewise is very good. However, there is one odd problem with casting. Maria is supposed to be an American, but Ms. Lillies sounds about as American as the rest of the cast--as she has a very unmistakable English accent. Perhaps since the film was made during WWII it was hard to get an American actress for the part, but Ms. Lillie, though a fine actress, didn't even attempt the correct accent...or perhaps that's how we all sound to the Brits! Still, if this is my only complaint, then it must have been a pretty good film.By the way, Clive Brook not only played George in the film, but he directed and wrote the movie as well! Wow. I am impressed.

barrymn1 Wow....what a surprise....I bought this on DVD sight unseen, due to the fact that it stars Beatrice Lillie in one of the very few films she ever made.She's absolutely wonderful playing a rather unpleasant, grumpy women. Similarly, Clive Brook, who capped his long film career by writing, directing and starring in this outrageous farce.I won't give away the plot, but I can't imagine a better example of how well a well known play can be adapted for the screen.If you can't live without the Criterion DVD of "The Importance Of Being Earnest", then this movie should also be on your shelf.Get it....before it disappears....

adykstra Thanks to Blackhawk Films and Image Entertainment for the release of this rarely seen British gem. It is refreshing to see a comedy based on language and characters. Only in Britain would Beatrice Lillie have been given a starring role (along with Googie Withers in a wise supporting role) in a film like this. Like George Cukor's THE WOMEN and Mankiewicz's ALL ABOUT EVE, this is a comedy you can return to time and again and pick up something new every time. Hats off to Clive Brook!