This may not be a film you know well, heard mention of often, or comes to mind when you think, hear, or see Cary Grant. You think Hitchcock, be it NOTORIOUS, NORTH BY NORTHWEST, TO CATCH A THIEF, SUSPICION (that ending tho ...), or Comedies, ARSENIC AND OLD LACE, BRINGING UP BABY ... 🎶I can't give you anything but looove, baby🎶, THE AWFUL TRUTH, MY FAVORITE WIFE, Romances, INDISCREET ... "How dare he make love to me and not be a married man?!", PENNY SERENADE, IN NAME ONLY, TALK OF THE TOWN, PEOPLE WILL TALK, or brilliance, GUNGA DIN, HIS GIRL FRIDAY, NONE BUT THE LONELY HEART, THE PHILADELPHIA STORY ... "Hello Friends and Enemies," But how key are those early Grant's or in the shuffle Grant films, BORN TO BE BAD, ONCE UPON A HONEYMOON, MR. LUCKY, TOAST OF NEW YORK, ONCE UPON A TIME, SUZY, or ... THE AMAZING ADVENTURE (1936). What is THE AMAZING ADVENTURE? A comedy, a romance, a drama? Let's just say it's a Romantic Drama with a touch of Comedy. Though the comedy only seems to stem from a broken bottle of port and whilst out on a date with a double duty chauffeur ...
THE AMAZING ADVENTURE (1936), under another title, THE AMAZING QUEST OF ERNEST BLISS, is a remake to the lost 1920 British film of the same name (the latter), which in return, both are based off the novel (too of the same latter name). At the time I "discovered" this film several years back, it was a new title to me, which even then was a bit of a surprise as it always seemed, just when you think you've seen, mastered, or know every Cary Grant title or film, a new one strikes out at you. I blame this on being a life long Cary Grant fan from before I could really remember, much like I LOVE LUCY, you can't recall the year when you began watching, you just know it was always there. You hear stories about it from your family on how "when you were little, you used to ..." and so on and so. I've often said, my love affair with Classic Films started before I can remember, but it started with Cary Grant (scroll down to "DAY 20" and read why with almost every Cary Grant recommend I could recommend: DAY 20 WITH CARY GRANT). Nevertheless, while doing some shopping with my Mom one day, I came across this Cary Grant DVD title.
After purchase, I admit, it stayed on my film shelf for a bit before my Mom and I decided on one of those, "what do you wanna watch," "I dunno, what do you wanna watch," Saturday Nite Movie Night routines, when the film that was the film of the week on Cable just wasn't our jam. And so Cary Grant arrived to the party. It's not the best print, as this film's copyright was neglected, thus leaving it into the hands of master reprints and releases, but it isn't "that bad." Believe me, I've seen, and have on hand (during the years I didn't know any better before purchase), prints that are worse ... THE RED HOUSE, I'm lookin' at you ... or rather squinting at you. You mean Edward G. Robinson was in that?
Here, Cary Grant plays Ernest Bliss, a millionaire who is under a great stress of life due to his millions. Thus leading him to embark on a year of life without any means of money except what he himself can make on his own. Not to be dependent whatsoever on his "names" money. To be a man with no ties or connections so to speak, out on a journey to live life of an independent man. Working. A subject told here that is not only inspiring but also a very realistic one. One, IMO, Cary Grant carries off well. A man of means who feels useless because of it. How can a person with money feel it's a handicap (don't we all wish we were that "lucky" one may say), but there are those of us, even without any amount of monetary wealth that can relate. You know, like that saying goes, you can feel at your loneliest among a room full of people. As can any of us, even the wealthy, feel useless.
Here, Cary Grant plays Ernest Bliss, a millionaire who is under a great stress of life due to his millions. Thus leading him to embark on a year of life without any means of money except what he himself can make on his own. Not to be dependent whatsoever on his "names" money. To be a man with no ties or connections so to speak, out on a journey to live life of an independent man. Working. A subject told here that is not only inspiring but also a very realistic one. One, IMO, Cary Grant carries off well. A man of means who feels useless because of it. How can a person with money feel it's a handicap (don't we all wish we were that "lucky" one may say), but there are those of us, even without any amount of monetary wealth that can relate. You know, like that saying goes, you can feel at your loneliest among a room full of people. As can any of us, even the wealthy, feel useless.
Watching the film, you can tell this is a turning point in Cary Grant's career. As if he is right at the threshold of coming into his own. Mind you in just a few more films, TOPPER arrives, and history in Cinema is made through the formal introduction of "Cary Grant." In THE AMAZING ADVENTURE, the dress, the style, the persona, the man that is to become "Cary Grant" walks into existence during the scene where he walks into his bank, under which he is suppose to steal his own money ... cue Joel McCrea "That's another plot entirely." ... Thanks Joel. The way Cary Grant walks into frame from the doorway, suit in tact, hat on just so, and that incredible walk ... As Marlon Brando's last line in JULIUS CAESAR goes, "This was a man." And indeed Grant is. His look here is in pure MR. LUCKY (1943) form.
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As far as I know, this is the only British film Grant did in the 1930's. He carries what, at times, can feel like a weighted film for one billed as a Comedy, in a sophisticated, albeit natural way. Here you see, this man can carry a film by himself. Without big budget, fresh from the "factory" leading woman, massive sets ... This man can act. He can carry you into the picture, not only with just the storyline, but his character as well. For a man who talked about he himself wanting "to be Cary Grant," we know his acting ability was Grade A, because for every second I see him appear or his name spoken, I am utterly convinced this man is Cary Grant.
Coming back around to the storyline itself for just a bit, I once read the original 1936 review for this film from Variety, that seems to give Grant's co-star, Mary Brian, a hard time. Her character and her acting. I don't know if I'd go as far as to call her a gold digger in the sense they seem to describe in the review. But perhaps it's because I've spent *way* too much time with Busby Berkeley. And while reading through other peoples reviews of the film over the years, one thing that we all seem to agree with is that this is purely "The Cary Grant Show," a Cary Grant "production," not to take away from Brian as an actress, but in this film, Cary could've carried it with an unknown actress to one of Hollywood's leading of leads, and he would've come out on top.
Coming back around to the storyline itself for just a bit, I once read the original 1936 review for this film from Variety, that seems to give Grant's co-star, Mary Brian, a hard time. Her character and her acting. I don't know if I'd go as far as to call her a gold digger in the sense they seem to describe in the review. But perhaps it's because I've spent *way* too much time with Busby Berkeley. And while reading through other peoples reviews of the film over the years, one thing that we all seem to agree with is that this is purely "The Cary Grant Show," a Cary Grant "production," not to take away from Brian as an actress, but in this film, Cary could've carried it with an unknown actress to one of Hollywood's leading of leads, and he would've come out on top.
There is a scene in the film, right after he has left the bank, upon his return home, when he reveals to the men who have "set up shop" at his home (to take the man who lives there for everything he's got), that he is said man. During this ... ahem ... exchange, you can't tell Cary Grant from any type of stunt double, though I'm sure there were times when one had to be used, and yet, you can clearly, and I mean clearly (even in this print), see Cary Grant's face during the most complex portions of the two men's exchanges. Make no mistake, it is easy to see the years in the troupe served him not only well, but came in handy, as Grant carries his own in fisticuffs. Being tossed, thrown, dodging, and landing a number of blows, staged or otherwise, of his own. In short, I don't think you can lick him too quick in the ring. Tailored suit or not, this man can fight and win. Then again, we find that to be the case in GUNGA DIN (1939).
Yes, CG, you "could've lived like Dukes."
In short ... a long time later ... Wish this film could be restored, as it is, for me, worth the watch and worth the time to be shown in restoration showcase. But still recommend it as a worth the watch Cary Grant film even in the state it's shown or released on DVD as it is. So whether you buy it on DVD as I did, or watch any number of links there is on YouTube or the like on it, make sure you bring your coffee mug ... #ForMyMom
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For my other CINEMA COFFEE blog pieces:
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame"
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame"