Memorable, crazy movie

Good movie, but best of all time? Hardly . . .

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Forget about the green mist of "The Ten Commandments" skipping doors with blood painted on them, or the cloaked skeleton pointing his dinner at a bunch of people who ate the Salmon Moose in "Monty Python's The Meaning of Life", or even the comical figure on "Family Guy". This view of the angel of death is profound, almost romantic, with sincerity and integrity. "Has it ever occurred to you that death may be more simpler than life?", Death (Fredric March) asks. I certainly hope so!Appearing to Sir Guy Standing as an unfaced dark mist, he tells him (in March's voice) that he will be soon joining them in the guise of the Russian nobleman scheduled to visit them that "won't be there himself". All but Standing believe him to be this member of the Russian aristocracy, and as his dark presence creates discord, life is saved for aging flowers, accident victims (seen in presumed newsreel footage) and the aging certain to die as soon as he returns to his duties. Death searches for love during his brief visit with life, finding only fear in the souls of two of the beautiful women (Gail Patrick and Katherine Alexander) in attendance. Only one, the sweet Evelyn Venable, whose purity touches him, does not fear him, and this creates fear in the family as well as their visitors as they comprehend the truth.Almost operatic in its tragedy, this actually did become a critically acclaimed Off-Broadway musical drama. The film version of the stage play is solemn, yet not depressing or morbid. It certainly constitutes discussion, and "Death", itself, makes observations about the selfishness of the living in not accepting the act of death as part of life, and not letting the dead rest in peace.Venable's demeanor of the gentile noblewoman is almost saintly, as she seems to welcome Death's presence in her life without even an ounce of fear while her parents (Katherine Howard and Henry Travers) obviously have the earthly view of "She's too young to be taken" and "What will we do without her?". The beloved Helen Westley is sweetly noble as Standing's wife, while her matriarchal character in the musical became a maturing beauty played by the striking Rebecca Luker. While the title indicates that this could be either a comedy or a horror movie, it is in fact, a love story of two worlds forbidden from meeting, let alone falling in love. Of course, the cinematography is at times almost like the early sound horror movies, and it is indeed haunting. Director Mitchell Leisen prevents it from ever becoming sappy or mellow, and at the end, you might feel that the two forbidden lovers are triumphant.

This fascinating curio from the 1930s is based on an Italian stage play that posited the simple question: Would Death be intrigued by why we mortals cling so stubbornly to life in spite of our self-evident self-destructive urges. Death, in this movie, is at a disadvantage in this since he is immortal and can never death itself. It posits a question that has been posed as earlier as the ancient Greek playwrights such Euripides: Are the gods inferior to mortals because the former have no knowledge nor capacity for understanding the deep suffering the latter are capable of because mortals are always aware on some level that they will ultimately die? This story, Death Takes a Holiday, is reminiscent of aspects of Christian theology that posited Jesus, as the Son of God, was part of the divine Godhead and thus by allowing Jesus the Crucifixion, God could come to understand the suffering of which His creation was capable. By that understanding, Jesus could redeem the sins of mankind as God, through Jesus, gained an understanding of what it meant to be human. Even though this perspective isn't strictly orthodox, it was best illustrated in another movie, The Green Pastures, which was made in 1936.As to the film itself, the presentation has definitely dated aspects. What keeps the film in the category of a flawed classic rather than a dated curio is Frederick March's wonderful performance as Death who comes as Prince Sirki to a weekend gathering of Italian aristocrats at the villa of one of those aristocrats. March captures ideally the worldliness of an ageless figure, such as death, who has seen everything and his endearing naiveté as Death realizes he's actually experienced nothing of what he sees. It's when he falls in love with the beautiful Grazia that he begins to understand the suffering of which humans are capable. Indeed when Grazia wishes to go with Sirki/Death, Death feels the anguish that a person feels who must part from one he loves. It is when she declares that she knew who he really was all along and isn't afraid to follow him to his realm that Death grasps the power of love in the face of death. March conveys all of this beautifully and even makes his final rather overwrought speech memorable and moving.Unfortunately, from those thespian heights, the other aspects of the film are a rather mixed bag. The young actress who plays Grazia is given overdone dialog that irresistibly reminds me of the lines of the "serious" play that Katherine Hepburn's character in the movie, Backstage, is auditioning for. That's the play with the classic line, much parodied, "Father, the calla lillies are in bloom again..." Grazia's lines approach the laughable. Also, for a group of Italian aristocrats, the guests at the house sport frank American or English accents while the few working class Italians that appear are pure stage Italians out of the Chico Marx mold.But despite these limitations which led me to subtract three stars out of ten, it's a film well worth seeing.

Always enjoyed the great acting of Fredric March, who won two Academy Awards for "Dr. Jekyll & Mr. Hyde",'31 and also "The Best Years of Our Lives",'46. In this picture, March plays a rather strange role as Prince Sirki, who is permitted to be a house guest of a rich family and is found to be quite strange in his manners. Some rather attractive young ladies sort out to flirt with the Prince and all of a Sudan decided to run away immediately. However, Evelyn Venable,(Grazia),"The Little Colonel",'35, seems to capture his heart and soul, which he did not seem to know that he possessed. The ending of the picture will surprise you and make you wonder if the correct decisions were made.

His Highness DEATH TAKES A HOLIDAY to discover the secret of love and why mortals cling so to life.This clever allegorical drama, with its literate script and excellent acting, is a delight and should satisfy discerning viewers looking for something a bit different. The fantastical elements are handled in a plausible manner, the plot is satisfyingly intelligent, and the overall effect is one which both entertains & informs.Fredric March stars as the troubled Phantom who literally descends upon an Italian houseparty in the guise of a mysterious prince in order to find the answers to the questions which have troubled him for millennia. March is excellent in what almost amounts to a dual role, that of the love-deprived Death and also of the eccentric Prince Sirki, who seems in complete command of his surroundings. Sir Guy Standing, whose own life would soon be cut short by tragedy, is first rate as the old duke who alone knows March's true identity.Death's presence has a distinct effect on three young women staying at the Villa Felicitá: lovely princess Evelyn Venable begins to reconsider her love match with handsome Kent Taylor, while American Gail Patrick & Italian noblewoman Katharine Alexander set their caps for the intriguing new arrival.Three old pros, Helen Westley as the hostess, and Henry Travers & Kathleen Howard as members of the houseparty, all add dignity to their supporting roles.Paramount gave the film lavish production values which entertain the eye throughout. Also, notice the clever way in which the credits identify most of the cast during the opening sequence set in the lively town market.