Patrick Dennis, orphaned in 1928 when his father Edwin dies unexpectedly, is placed in the care of his aunt, Mame Dennis, in Manhattan. Mame is flamboyant and exuberant, hosting frequent parties with a variety of guests and free-spirited friends including the frequently-drunk actress Vera Charles; Acacius Page, who runs a nudist school; and Lindsay Woolsey, a book publisher. Mame quickly becomes fond of Patrick, and aims to give him as broad a view of life as possible. Patrick's inheritance is managed by Dwight Babcock, a trustee of the highly-conservative Knickerbocker Bank, who was instructed by Edwin to restrain Mame's influence. Without Babcock's knowledge, Mame enrolls Patrick in Page's school. When this is discovered, Babcock forcibly enrolls Patrick into his alma mater, preventing Mame from seeing her nephew except during holidays and during the summer.
When Mame is bankrupted by the 1929 stock market crash, she takes a series of jobs which end disastrously. During one job as a Macy's sales girl, she meets Southern oil baron Beauregard Jackson Pickett Burnside. Both are smitten, and he invites Mame to his estate. Despite an attempt on her life by Beau's original betrothed, Mame and Beauregard are married, travelling around the world for their honeymoon. Mame continues to receive letters from Patrick (and vice versa), indicating Babcock is influencing him into a more conventional personality. After Beau dies while climbing the Matterhorn in 1937, Mame comes home after a prolonged period of mourning to discover the now-adult Patrick gifted her with a dictaphone, typewriter, and secretary, Agnes Gooch. He and her friends persuade her to write her autobiography. Patrick and Lindsay arrange for a collaborator/ghost writer for Mame, Brian O'Bannion, who rapidly proves to be a fortune hunter.
Patrick announces to Mame that he is engaged to Gloria Upson, a girl approved by Babcock from a "restricted" community in Connecticut called Mountebank. Mame is initially angered by the change in his character, but relents to please him. She also sabotages O'Bannion's attempted wooing by sending Agnes to a party in her place, lying to O'Bannion that Agnes is a secret heiress. When Agnes returns, she barely remembers the evening, thinking they saw a movie with a wedding scene. After Mame meets Gloria, who proves to be spoiled and prejudiced, she visits Gloria's parents in Mountebank at their house, "Upson Downs", some time later. Finding them to be boorish and anti-Semitic, she invites them and Gloria to a dinner party at her apartment with Patrick, Babcock, and some of her friends.
On the night of the party, Patrick meets Mame's new secretary Pegeen, and the two are attracted to each other; Agnes also lives there, now pregnant due to her night with O'Bannion and presumed to be unmarried. The entire party is choreographed to show up the Upsons: Lindsay surprises the attendees with galleys from Mame's autobiography, reminding Patrick of forgotten adventures. The book's release prompts a telegram from O'Bannion demanding half the royalties for his efforts, also revealing that he married Agnes on their night out. When Gloria insults Mame's company, Patrick instead defends them and insults Gloria's own circle, ending their relationship. Mame dedicates her royalties to a home for refugee Jewish children in Mountebank, much to the Upsons' horror. The Upsons leave in a huff. Mame berates Babcock for his attempts to manipulate Patrick's life; he also leaves. By 1946, Patrick and Pegeen are married and have a son Michael. Mame and Michael persuade his parents to let Mame take the child on a journey to India, and the movie fades as Mame tells Michael of all the wondrous sights they will see.
Morton Da Costa directed the stage adaptation, which ran from October 1956 through June 1958, for 639 performances. Rosalind Russell originated the role of Mame and was nominated for the 1957 Tony award for Best Performance by a Leading Actress in a Play. She played Mame until January 20, 1958, when Greer Garson took over the part.[4] Russell, Peggy Cass, Yuki Shimoda and Jan Handzlik reprised their Broadway roles in the film.
The Motion Picture Herald review observed that the film "provided a unique means of establishing time and plot progression" through the changing decor of Mame's Beekman Place apartment. The review in the Los Angeles Examiner (June 1958) named six different styles: Chinese, 1920s Modern, "Syrie Maugham” a French style named for writer Somerset Maugham's wife; English, Danish Modern and East Indian. When the Upsons visit Mame, they run afoul of the Danish Modern furniture, which is equipped with lifts.[5] The film received an Academy Award nomination for Best Art Direction (Art Direction:Malcolm Bert; Set Decoration:George James Hopkins).
The costume design for the film, which include outfits for Mame that coordinate with the sets, was provided by Orry-Kelly, who had worked with Rosalind Russell on a number of films.[6]The New York Times critic Bosley Crowther observed: "The lavish décor of Mame's apartment is changed almost as frequently as are her flashy costumes, and all of them are dazzling, in color and on the modified wide-screen."[2]
Rosalind Russell broke her ankle on the first take of a scene where she runs down the stairs. Filming was delayed until she recovered.[7]
Several online sources, including Rotten Tomatoes' and AllMovie's biographies of actor and journalist Joanna Barnes,[8][9] mistakenly describe Gloria Upson as "Vassar educated". Gloria is "an Upper Richmond Girls School girl”, and proud of it. She does not understand the concept of a college major, but proclaims that the school is "top drawer."[10] In 2008, in The Seattle Weekly, Gavin Borchert described the character succinctly as a "lockjawed prep princess". On AllMovie, Hal Erickson adds that the character "spoke as though she had novacaine in her upper lip (the playwrights' description of the character)."[8]
Reception
Rosalind Russell drew wide praise for her performance. In an article describing why Turner Classic Movies has named it one of “The Essentials”,[11]Andrea Passafiume observes that the role transformed Russell's career, “first on the Broadway stage and then on the big screen. Having long been a top level movie star throughout the 1930s and 40s, Russell's career in Hollywood was dwindling as she settled into middle age. The role of Mame Dennis... gave her the chance to be glamorous and showcase her sharp comedic talents, which reminded the world that she was still a vital force to be reckoned with. The success of the play made her the toast of Broadway, and the hit film gave her her first Oscar® nomination as Best Actress in more than a decade".[11]
Passafiume adds that the film also transformed Warner Bros. Studios, which was "desperate for a hit, having suffered through a string of recent disappointments which put the once thriving studio increasingly in the red. Auntie Mame was the answer to their prayers and helped restore the studio's former glory."[11]Auntie Mame became the second highest-grossing film of 1958, earning a net profit of $8,800,000.[12]
The movie premiered at the Radio City Music Hall, and Bosley Crowther of The New York Times wrote that "for all its absurd exaggerations and bland inconsistencies, this picture of a tireless party-giver is a highly entertaining thing to see. And, because of the gags that gush from it, it is a constantly amusing thing to hear.[2]Variety called the film "a faithfully funny recording of the hit play, changed only in some small details to conform to motion picture mores ... Rosalind Russell recreates the title role for the film and re-establishes herself as a top picture personality."[13]Harrison's Reports called the film "a fast and furious comedy, with a glamorous background and considerable deep human appeal ... Rosalind Russell, who scored a huge success in the stage play, repeats her wonderful performance as the uninhibited heroine in this screen version. She fits the role so ideally that it is difficult to imagine any one else in the part."[14]
Richard L. Coe of The Washington Post called the film "broad as the Atlantic, too broad for me, but it's still a hilarious, observant comedy ... Miss Russell remains just plain wonderful in the part."[15]John McCarten of The New Yorker dismissed the film, writing that Russell "works hard," but that the film "bogs down badly before it has gone any distance."[16]The Monthly Film Bulletin wrote that the film was "virtually a one-woman revue, a series of turns—Mame as hostess, shopgirl, telephone operator, counterfeit Southern Belle, writer, actress—carried along on a strong current of personality. Rosalind Russell, who created the part on the stage, takes a turn or two to get into her stride; once established, however, her superbly confident timing and powerfully empathic comedy personality see her happily through."[17]
Leonard Maltin gives the film 3.5 out of 4 stars: “ Episodic but highly entertaining, sparked by Russell's tour-de-force performance.”[18]
Stanley Kauffmann of The New Republic wrote- 'The film script suffers from the same integral fault as the play. For about the first third, it is diverting high comedy growing out of credible characters; then, for fear of losing momentum, the writers start to pump in gags and gaggy situations. What starts out as glittering comedy descends through farce to circus'.[19]
As of September 2020, Auntie Mame has a score of 93% on the review-aggregation website Rotten Tomatoes, based on 14 reviews.[20]
The Philadelphia Story is a 1940 American romantic comedy film starring Cary Grant, Katharine Hepburn, James Stewart, and Ruth Hussey. Directed by George Cukor, the film is based on the 1939 Broadway play of the same name by Philip Barry, about a socialite whose wedding plans are complicated by the simultaneous arrival of her ex-husband and a tabloid magazine journalist. The socialite, played by Hepburn in both productions, was inspired by Helen Hope Montgomery Scott (1904–1995), a Philadelphia heiress known for her hijinks, who married a friend of playwright Barry.
Adam's Rib is a 1949 American romantic comedy-drama film directed by George Cukor from a screenplay written by Ruth Gordon and Garson Kanin. It stars Spencer Tracy and Katharine Hepburn as married lawyers who come to oppose each other in court. Judy Holliday co-stars as the third lead in her second credited movie role. Also featured are Tom Ewell, David Wayne, and Jean Hagen. The music was composed by Miklós Rózsa, and the song "Farewell, Amanda" was written by Cole Porter.
Johnny Belinda is a 1948 American drama film, directed by Jean Negulesco, based on the 1940 Broadway stage hit of the same name by Elmer Blaney Harris. The play was adapted for the screen by writers Allen Vincent and Irma von Cube.
Mary Margaret "Peggy" Cass was an American actress, comedian, game show panelist, and announcer.
Picnic is a 1955 American Technicolor romantic comedy-drama film filmed in CinemaScope. It was adapted for the screen by Daniel Taradash from William Inge's 1953 Pulitzer Prize-winning play of the same name. Joshua Logan, director of the original Broadway stage production, directed the film version, which stars William Holden, Kim Novak, and Rosalind Russell, with Susan Strasberg and Cliff Robertson in supporting roles. Picnic was nominated for six Academy Awards, including Best Picture, and won two.
Auntie Mame: An Irreverent Escapade is a 1955 novel by American author Patrick Dennis chronicling the madcap adventures of a boy, Patrick, growing up as the ward of his Aunt Mame Dennis, the sister of his dead father.
Adolph Green was an American lyricist and playwright who, with long-time collaborator Betty Comden, penned the screenplays and songs for musicals on Broadway and in Hollywood. Although they were not a romantic couple, they shared a unique comic genius and sophisticated wit that enabled them to forge a six-decade-long partnership. They received numerous accolades including four Tony Awards and nominations for two Academy Awards and a Grammy Award. Green was inducted into the Songwriters Hall of Fame in 1980 and American Theatre Hall of Fame in 1981. Comden and Green received the Kennedy Center Honor in 1991.
Catherine Rosalind Russell was an American actress, comedian, screenwriter, and singer, known for her role as fast-talking newspaper reporter Hildy Johnson in the Howard Hawks screwball comedy His Girl Friday (1940), opposite Cary Grant, as well as for her portrayals of Mame Dennis in Auntie Mame (1958) and Rose in Gypsy (1962). A noted comedienne, she won all five Golden Globes for which she was nominated. Russell won the Tony Award for Best Actress in a Musical in 1953 for her portrayal of Ruth in the Broadway show Wonderful Town. She was nominated for the Academy Award for Best Actress four times during her career before being awarded a Jean Hersholt Humanitarian Award in 1973.
Mame is a musical with the book by Jerome Lawrence and Robert Edwin Lee and music and lyrics by Jerry Herman. Originally titled My Best Girl, it is based on the 1955 novel Auntie Mame by Patrick Dennis and the 1956 Broadway play by Lawrence and Lee. A period piece set in New York City and spanning the Great Depression and World War II, it focuses on eccentric bohemian Mame Dennis, whose famous motto is "Life is a banquet and most poor sons of bitches are starving to death." Her fabulous life with her wealthy friends is interrupted when the young son of her late brother arrives to live with her. They cope with the Depression in a series of adventures.
Edward Everett Tanner III, known by the pseudonym Patrick Dennis, was an American author. His novel Auntie Mame: An irreverent escapade (1955) was one of the bestselling American books of the 20th century. In chronological vignettes, the narrator — also named Patrick — recalls his adventures growing up under the wing of his madcap aunt, Mame Dennis. Tanner wrote a sequel, titled Around the World with Auntie Mame, in 1958. He based the character of Mame Dennis on his father's sister, Marion Tanner. Tanner also wrote several novels under the pseudonym Virginia Rowans.
Lee Patrick was an American actress whose career began in 1922 on the New York stage with her role in The Bunch and Judy which headlined Adele Astaire and featured Adele's brother Fred Astaire.
Born Yesterday is a 1950 American comedy-drama film directed by George Cukor, based on the 1946 stage play of the same name by Garson Kanin. The screenplay was credited to Albert Mannheimer. According to Kanin's autobiography, Cukor did not like Mannheimer's work, believing it lacked much of the play's value, so he approached Kanin about adapting a screenplay from his own play. Because of legal entanglements, Kanin did not receive screen credit.
Joanna Barnes was an American actress and writer.
Janis Paige is an American retired actress and singer. With a career spanning nearly 60 years, she is one of the last surviving stars from the Golden Age of Hollywood.
Mame is a 1974 Technicolor musical film in Panavision based on the 1966 Broadway musical of the same name and the 1955 novel Auntie Mame by Patrick Dennis.
Wait Until Dark is a 1967 American psychological thriller film directed by Terence Young and produced by Mel Ferrer, from a screenplay by Robert Carrington and Jane-Howard Carrington, based on the 1966 play of the same name by Frederick Knott. The film stars Audrey Hepburn as a blind woman, Alan Arkin as a violent criminal searching for drugs, and Richard Crenna as another criminal, supported by Jack Weston, Julie Herrod, and Efrem Zimbalist Jr.
Robert Cecil Smith was an American actor of the stage, television, and film.
"The Rose of Tralee" is a nineteenth-century Irish ballad about a woman called Mary, who because of her beauty was called The Rose of Tralee. The Rose of Tralee International Festival had been inspired by the ballad.
She Wouldn't Say Yes is a 1945 screwball comedy film directed by Alexander Hall and starring Rosalind Russell and Lee Bowman.
Raymond Stover Fulmer was an American actor known for playing the role of Steve Baxter in the final season of the sitcom television series Hazel (1965–1966).
↑ Steinberg, Cobbett (1980). Film Facts. New York: Facts on File, Inc. p.23. ISBN978-0-8719-6313-0. When a film is released late in a calendar year (October to December), its income is reported in the following year's compendium, unless the film made a particularly fast impact (p. 17)
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