My Man Godfrey, an inspired spin on the screwball comedy from 1936, derives much of its enduring bite from the class critique at its core. Made at the height of Hollywood’s golden age, but taking the measure of stark economic disparities in a country then in the trough of the Great Depression, Gregory La Cava’s Oscar-nominated film follows a Manhattan aristocrat (Carole Lombard) and the dump-dwelling drifter (William Powell) she taps to serve as her family’s butler, chronicling the lavish household’s dysfunction through the eyes of the wearied new domestic. As critic Nick Pinkerton notes in the above clip, excerpted from a supplement on our new edition of the movie, the “violation of class boundaries,” epitomized in My Man Godfrey by the romance that ultimately blossoms between the main characters, was in fact a recurring theme for the undersung auteur. The filmmaker—whose other class-based comedies include Stage Door (1937) and She Married Her Boss (1935), and who himself came from modest means—“takes an enormous delight in how funny and strange it is that there are such things as rich people,” Pinkerton observes. “The exotic plumage of these bizarre creatures is incredibly droll and amusing to him.”
The “Very Unusual” Fashion Show at the Heart of True Stories
In this video, artist Adelle Lutz and director David Byrne discuss the weird and wonderful outfits in a particularly outrageous set piece in the film.
Behind Marilyn Monroe’s “Period-ish” Look in Some Like It Hot
A costume designer can make characters come alive. In this new interview, two historians explore how Orry-Kelly’s gowns helped Marilyn Monroe embody one of her finest roles.