This is a gem of a movie. The characters are so believably presented and so expertly performed that it's easy to overlook some of the more far-fetched aspects of the plot. Not that it's too outrageous, but this is after all, a political satire.
In some ways the premise is not outdated. We still have an oligarchy running our government today, represented by moneyed families that find ways to put their relatives into office- to protect their big business interests and other capitalistic enterprises. We also have a working class poor and a marginalized segment of society struggling to gain a toehold in political parties, in order to turn the proverbial tide in their favor.
Our story has William Powell cast as a third-generation butler of a wealthy count (Henry Stephenson) who has been in his excellency's employ for a dozen years. The count is a long-standing parliamentarian who gives vague and uninspired annual speeches to placate the masses and ensure re-election. Only this time, he has a new opponent.
Powell has been elected as a new member of parliament to claim a vacated seat for the labor party. In the law-making chamber, Powell seeks to attack his boss's weak domestic policies.
Part of the humor comes in the fact that Powell refuses to quit his job as a butler. So there is still this pre-established relationship between the two men at the count's estate. But in town, they remain adversaries. In addition to this, we have Powell's ongoing relationships with the count's silly but imperious wife (Helen Westley) and their daughter (French actress Annabella in her U. S. film debut).
The daughter is married to a slick baron (Joseph Schildkraut). Some of what happens involves a triangle between Powell, Schildkraut and Annabella. We learn Powell has wanted to improve his station in life, to impress the count's daughter, since he secretly adores her despite her spoiled behavior. There is a great scene near the end where Powell finally confesses his feelings for the lovely lady. She realizes she shares these feelings, and that her marriage to Schildkraut has been a sham.
This is a comedy about politics, a comedy of manners, a comedy with romance, and a comedy that is able to delight audiences with its nicely drawn characters and its sparkling performances.
In some ways the premise is not outdated. We still have an oligarchy running our government today, represented by moneyed families that find ways to put their relatives into office- to protect their big business interests and other capitalistic enterprises. We also have a working class poor and a marginalized segment of society struggling to gain a toehold in political parties, in order to turn the proverbial tide in their favor.
Our story has William Powell cast as a third-generation butler of a wealthy count (Henry Stephenson) who has been in his excellency's employ for a dozen years. The count is a long-standing parliamentarian who gives vague and uninspired annual speeches to placate the masses and ensure re-election. Only this time, he has a new opponent.
Powell has been elected as a new member of parliament to claim a vacated seat for the labor party. In the law-making chamber, Powell seeks to attack his boss's weak domestic policies.
Part of the humor comes in the fact that Powell refuses to quit his job as a butler. So there is still this pre-established relationship between the two men at the count's estate. But in town, they remain adversaries. In addition to this, we have Powell's ongoing relationships with the count's silly but imperious wife (Helen Westley) and their daughter (French actress Annabella in her U. S. film debut).
The daughter is married to a slick baron (Joseph Schildkraut). Some of what happens involves a triangle between Powell, Schildkraut and Annabella. We learn Powell has wanted to improve his station in life, to impress the count's daughter, since he secretly adores her despite her spoiled behavior. There is a great scene near the end where Powell finally confesses his feelings for the lovely lady. She realizes she shares these feelings, and that her marriage to Schildkraut has been a sham.
This is a comedy about politics, a comedy of manners, a comedy with romance, and a comedy that is able to delight audiences with its nicely drawn characters and its sparkling performances.