Regular readers of this blog will know that I have a thorough history with theater. Even with this, though, I’d never seen You Can’t Take It With You, either in the theater or on the screen. It seemed to be quite popular, seeing as I found multiple high school productions of this one on YouTube, so I was expecting a smart comedy-esque picture, thick with dialogue and feel-good sensibilities, especially since this film version would be helmed by Frank Capra, the current king of feel-good sensibilities in this chronological era of Hollywood. I dunno; maybe it was because I’ve been through several Capra pictures in a row, and thus the film’s charms ended up being somewhat diluted; maybe it was because of the theatrical background of the script, that the film appeared to hit every note exactly as it should’ve, almost too exactly; or maybe it was just because the film seemed to try a little too hard, but this film… well, it was just a tad too much of whatever it was trying to do at any given time.
Tony Kirby, son of the illustrious banker Anthony Kirby, finds himself in love with one of his father’s company’s secretaries, Alice Sycamore, who unknown to Tony has quite the extensive and multifaceted family, full of quirks and eccentric talents. Also unbeknown to Tony is the fact that Alice’s family lives on the last unsold property in a 12-property block that his father needs to isolate a competing company and put them out of business. Naturally, when Tony wants to marry Alice, she insists their families should meet, and if you’ve seen any sort of comedies from basically any era of Hollywood, you know how well that’s going to end up going down. I will say, after the aimlessness of Lost Horizon, it was certainly nice to see Frank Capra back to form, though it might’ve been thanks to the theatrically-sourced screenplay. All the Capra touches of wholesomeness and Americana are here, with plenty of oddball moments with the Sycamores to make you chuckle and smile and gee-willikers aren’t they just a hoot of a family to watch. Comedy can be a really fickle beast if it isn’t handled right; what can make something genuine and funny can also, if the line is toed a little too far, end up being mildly insufferable for directly trying to be genuine and funny. You Can’t Take It With You, if it doesn’t cross that line fully, does have plenty of moments that absolutely toe that line, which means the film has unfortunately not aged as well as some of Capra’s other pictures. That being said, viewed from the perspective of an audience from 1938, it’s certainly enjoyable, probably and especially because of its theatrical background, and Capra does do a good job of translating the dialogue and event-based action of the theater to the screen. That, and the ensemble cast is excellent all around, I suspect thanks to their commitment to the material and making it work as well as they can.
This has its moments, the ones that work, but this also has plenty of those other kind of moments, the ones that make you wish they’d held off a little bit so the moment could’ve worked instead of being a tad too far. Most of the former kind comes in the resolution act of the film, as well it should, and most of the latter comes in the middle section, which means that most people will have to suffer through the middle section to get to the better portions of the ending, which is pretty much a foregone conclusion for a typical Hollywood film of this time. That You Can’t Take It With You falls into this category instead of avoiding it or transcending it, to me, doesn’t make it a Best Picture winner, or rather it shouldn’t, seeing as this did win the top prize as well as Best Director for Capra, his third in five years. This was fine, as almost all Capra pictures are, but “fine”, even a Capra fine, shouldn’t be enough to take home the big one.
Arbitrary Rating: 7/10