Heaven Can Wait (1943) directed by Ernst Lubitsch (starring Don Ameche, Gene Tierney, Eugene Pallette, Allyn Joslyn, Marjorie Main)

Heaven Can Wait (1943). Screenplay by Samson Raphaelson based on the play Birthday by Lazlo Bus-Fekete.

Don Ameche arrives at the gates of Hell ready to turn himself in for being so ruthless with women. "His Excellency," however, chooses first to hear his story. He finds that Ameche has not been any worse than anyone else (in fact most of his "crimes" were done in the name of love), and so sends him on his way up.

This is the story of Heaven Can Wait, yet another confection from director Ernst Lubitsch and screenwriter Samson Raphaelson (the duo responsible for the fantastic Trouble in Paradise).

Ameche and Gene Tierney give fine lead performances. However, the film is stolen out from under them by the supporting cast. Allyn Joslyn (The Horn Blows at Midnight) is perfectly pompous as cousin Albert, and Charles Coburn is a delight as always playing Ameche's lovable grandfather, charming and good for a laugh.

But the pair who rule this film are Tierney's parents, played by Eugene Pallette (My Man Godfrey) and Marjorie Main (best known as "Ma Kettle"). Their powerful voices fill the air with intimidating presence when they are together; and their dueling breakfast scene is the highlight of the picture.

Yes, the acting is terrific all around, but somehow it doesn't all fit together right. The ending is obvious from the start and so isn't at all satisfying. I was left thinking, "so what?" But at the same time, the performances were so good, I didn't want Heaven Can Wait to end, so it felt cut short.

The Horn Blows at Midnight directed by Raoul Walsh (starring Jack Benny, Alexis Smith, Dolores Moran)

This review originally appeared in somewhat different form on Video Vista. Copyright 2002.

The Horn Blows at Midnight (1945). Screenplay by Sam Hellman and James V. Kern from a story by Aubrey Wisberg.

The Horn Blows at Midnight is the infamous film about which Jack Benny constantly expressed shame on his radio show (the movie was a flop on release and became his last lead role). And while it's by no means a classic (in fact, it's probably only as well known as it is because he made so much fun of it), it's not that bad.

Yes, some of the jokes are obvious. Yes, Benny is pretty much playing himself. But not only are there several character actors worth seeing, but the storyline is also innovative (Doomsday is presented in a light, cheery manner), the performances are top-rate, the fallen-angel duo are a terrific comic team, and Dolores Moran steals every scene she's in.

Benny stars as a bad trumpet player who falls asleep during a radio commercial and dreams that he is Athanael, an angel chosen to go to Earth and blow the Doomsday trumpet, heralding its end. All he has to do is blow the horn precisely at the stroke of midnight and the world will end, getting him promoted to Angel Senior Grade. But of course things keep getting in his way, including two fallen angels who are living it up on Earth.

Benny's escapades on Earth comprise the bulk of the film, making room for several fish-out-of-water scenes (eating at a restaurant and not knowing to pay) and references to famous dead people (upon seeing a dollar bill, Benny recognizes George Washington and makes a note to tell George about it on his return).

Director Raoul Walsh has assembled a stellar cast of character actors — many with whom classic film fans will be familiar — that give Benny fabulous support. Alexis Smith is Elizabeth, Athanael's girlfriend; Guy Kibbee plays "the Chief," who assigns Benny his task; and Reginald Gardiner is suavity at its utmost as Archie Dexter, thief and aspiring conductor.

Preston Sturges stock player Franklin Pangborn is in fine pomposity as Sloan; Mike Mazurki has perfected the role of lovable goon by this point, but this is by far the largest role I've seen him in; and Allyn Joslyn and John Alexander are Osidro and Doremus, the fallen angels who don't want to go back. They are the American "Caldicott and Charters."

Former Marx brothers' foil Margaret Dumont also has a small role, and Bobby Blake, fresh from his Our Gang days, plays bratty-punk personified.

Lots of gags and quick pacing keep The Horn Blows at Midnight interesting. The climax is funny and suspenseful, involving all the main characters hanging off the side of a building. Good actors doing their best to entertain us is always fun to watch, as are all of the set pieces, especially one involving an oversized cup of coffee. On the downside, I wish they had stretched the ending out, giving viewers time to realize the story is ending, instead of compressing it into an unfunny punchline.