| Major Cast | |
|---|---|
| Rosalind Russell | as Mame Dennis |
| Forrest Tucker | as Beauregard Jackson Pickett Burnside |
| Coral Browne | as Vera Charles |
| Fred Clark | as Dwight Babcock |
| Roger Smith | as Patrick Dennis - Older |
| Patric Knowles | as Lindsay Woolsey |
| Peggy Cass | as Agnes Gooch |
| Jan Handzlik | as Patrick Dennis - Younger |
| Joanna Barnes | as Gloria Upson |
| Pippa Scott | as Pegeen Ryan |
| Lee Patrick | as Doris Upson |
| Willard Waterman | as Claude Upson |
| Robin Hughes | as Brian O'Bannion |
| Connie Gilchrist | as Norah Muldoon |
| Yuki Shimoda | as Ito |
| Brook Byron | as Sally Cato MacDougall |
| Carol Veazie | as Mrs. Burnside |
| Henry Brandon | as Acacius Page |
| MPAA Rating: | Unrated |
| Languages: | English; French; Russian; Hindi |
| Production Company: | * Warner Brothers |
| Distributors (USA): | * Warner Brothers (theatrical) * Warner Home Video (VHS & DVD) |
| Release Date (USA): | 12/27/1958 |
| Running Time: | 143 minutes |
| Domestic Box Office: | $23,300,000 |
| Domestic Rentals: | $9,300,000 |
| Production Budget: | $2,240,000 (Est.) |
Mame Dennis is a free-spirited socialite who lives in Manhattan and hob-nobs with the "upper crust": actors, poets, classical musicians, and the like.
Her widdowed brother has a ten-year-old son Patrick. A prudent man, he seeks to provide for the boy's welfare, including schooling, should he depart the scene prematurely. The opening scene of the film has him writing out his will. The document specifies that in the event of his demise, Patrick will go to his sister. She is to place Patrick in a conservative school and otherwise assure that he grows up a solid citizen. To this end, he appoints Dwight Babcock of Manhattan as his agent. In the will, he predicts that the date of his death is far off.
Alas, he drops dead the following day: 16 November 1928. Accordingly, the boy and a chaperone appear at the door to Mame's suite, where they encounter a carved dragon. The chaperone presses the buzzer; a gong sounds and the dragon breathes smoke, startling them. Shortly, Ito the butler admits them — to the midst of Mame's party.
Mame greets the boy warmly and makes much of him. While Mame whirls about the large room playing hostess, he mingles with the guests and learns many new words, including sidecar. (Soon he is mixing drinks with aplomb, impressing Mr. Babcock who comes by to check up on him.) But Babcock and Mame are soon at loggerheads. Babcock insists that Mame enroll Patrick in a proper school, and supplies a list. Mame disobeys.
There follows a series of contretemps as Mame and Patrick delightedly evade Babcock's efforts. But then comes the Great Depression to collapse Mame's sources of funds. A friend offers her a role in a play, but she makes a botch of it. Next she undertakes a series of menial jobs, with as little success. Just before Christmas, when all seems lost, Beauregard appears at her door. They had met at Macy's when he tried to buy 24 pairs of skates from her; she messed up the order and was fired. He'd been searching the city for her. Straightaway he takes her to his home in Georgia to meet the folks, who are avid horse-riders. She pretends to be one too.
Soon Beauregard and Mame are married and off on a world tour. Midway through it, Beau is killed in a fall from the Matterhorn. Mame, bereft, returns home to collect herself. Her friend Lindsay Woolsey suggests she write her memoirs, and recruits Brian O'Bannion to serve as her literary adviser. He turns out to be more moocher than mentor. Still, when the book is finally complete it becomes a best-seller.
Meanwhile Patrick, now grown, has chosen a bride. She turns out to be a dud, as do her parents. How Mame discovers that, and what she does about it, are the best part of the film.1
The beginning of Auntie Mame struck me as excessively goofy. But I soon warmed to it, largely because of Rosalind Russell's vivacious performance. She is the very personification of a trouper in those riding scenes — even given the fact that stuntwoman Audrey Scott was her riding double. The film is a whirlwind of activity and Rosalind Russell more than holds up her end, talking a mile a minute and never missing a cue. In the climax of the film, she holds a party for Patrick's fiancee and her parents and very cleverly puts them to rout. The remainder of the cast are equally capable, making for a fine ensemble performence.
Apparently, the character of Mame was based on Patrick Dennis's real-life aunt, Marian Tanner. A good-natured eccentric, she lived to be nearly one hundred years old and advised everyone to never be afraid of trying new experiences and to keep an open mind about everything and everybody. Patrick wrote two books about her: Auntie Mame: An Irreverent Escapade (2001) and Around the World With Auntie Mame (2013). He got his own biography from Eric Myers: Uncle Mame: The Life of Patrick Dennis (2000).2 In addition, the story of the various productions is told in But Darling, I'm Your Auntie Mame!: The Amazing History of the World's Favorite Madcap Aunt by Richard Tyler Jordan.3
Rosalind Russell and Peggy Cass (playing the socially awkward Agnes Gooch) both won Tony award nominations for the original play and Oscar nominations for the film version. Rosalind Russell was nominated for an Oscar for Best Actress, but lost to Susan Hayward for I Want to Live! (1958). After the awards ceremony, Russell reportedly said, "Well, I have to admit that nobody deserved it more than Hayward. If it had to be somebody else, I'm glad it was Susie." Peggy Cass won the Tony for Best Supporting Actress.
My Rating:
9 out of 10
Capsule review: Despite an ostentatiously goofy beginning, Auntie Mame proves very enjoyble thanks to the fast-paced, high-energy performances by Rosalind Russell and the rest of the cast and a clever, literate script. Despite its defects, it is a must-see.
| IMDB Rating: 8.0 | Raters: 8,584 |
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