Add a Review

  • I find it amusing that this musical's "lack of realism" was so appalling to several of the viewers. Thinking of the great musicals - "Show Boat", "Oklahoma", "South Pacific", the list is enormous - and criticizing their plots for verisimilitude or realism is rather like looking for the meaning of life in a Warner Brothers cartoon! It simply isn't important in the realm of the musical. When I think of some major musicals adapted for screen and the Sidneys and Walters with their heavy-handed ways directing them, Frank Borzage is so very much better. True, I'm not familiar with the director's lighter side but he handled things quite flowingly. I would have to agree that the script sounds like the work of a committee, but the songs were Durbin at her best. No, she didn't have the magnetism to light up the screen in any way but her voice was excellently suited for the material heard here.

    Curtis Stotlar
  • "His Butler's Sister" is a delightful comedy with delayed romance and music. Deanna Durbin gets to play her actress role with a light comedy very well, instead of getting into singing right away. That's part of the plot in this story of brother and sister reuniting after many years. Pat O'Brien's Martin Murphy doesn't know that she is "the Deanna Durbin voice" when his sister, Ann Carter, mentions that she sings. And the whole plot is built around foiling any occasion for her to do her thing. Because he thinks she is just another of the countless female voices that can sing but that don't stand out.

    And, it's because the male lead, Franchot Tone's Charles Gerard, is a major musical writer and director. And, he's just too worn out and needs rest from having listened to so many voices audition during the day. So, brother Martin, Gerard's butler, does everything to keep wannabe singing starlets away from his apartment. And that means keeping Ann mum.

    The film cleverly draws audience members into the frustration, and we want to yell to Martin and Charles, "Let her sing!" When a movie arouses that kind of reaction in an audience, one knows it is very good at what it set out to do. Because that just holds us to the story, with anticipation and wonder when the time will come when our heroine nails it with big brother and the man who has her heart.

    This aspect is a real hoot because Gerard's apartment has twin baby grand pianos set as to accommodate a duet. Then, a later scene has a flash into his bedroom in which another baby grand is sitting. So, for someone in the business of making music and musicals Gerard only once later in the film goes near the keyboards, and Ann does so just once as well.

    A wonderful aspect of this film is the considerable supporting cast Universal was able to assemble. I can only think of two top butler actors who are missing from this cast -- E.E. Horton and Eric Blore. But leading off the gentlemen's gentlemen here is Alan Mowbray. Others include Akim Tamiroff, Sig Arno, and Roscoe Karns.

    The prologue script on the screen before the story commences reminds one that this film is smack dab in the middle of World War II. It gives a humorous statement that all of the otherwise rationed items seen in this picture (food, clothing, etc.) are not real, but fake or props that look like the real thing - so that the ration cart wouldn't be upset. Just about everything during the war was rationed - food, clothing, gasoline, tires, etc.

    A scene later in the film is a very sly insertion by Universal to cleverly prove the assertion of the prologue. The neighboring butlers and male guests are waiting on Ann as she is eating in the kitchen. Gerard's eccentric producer, Mortimer Kalb (played by Walter Catlett) tells Sanderson (Russell Hicks) to get Ann a cup of coffee. Sanderson goes to the coffee urn and pours the cup of coffee. He nearly collides with one of the butlers and then hands the cup and saucer to Mortimer who fumbles it and nearly spills the whole thing on Ann. But not a drop spills out. And, as Mortimer juggles it back onto the saucer, the camera shows that it is clearly a prop - a plastic cup that appears to be full of coffee, but that is itself part of the plastic prop. This is such an obvious thing, that most in the audience probably think, as I did, that the studio goofed and should have re-shot the scene. But then, when one remembers the funny prologue that none of the ration things in this film are real, the little stroke of genius and wit in that scene becomes apparent.

    Most people should enjoy this breezy comedy and Deanna's songs. Here are some favorite lines from the film.

    Martin Murphy, "Even if you are my sister, it's the best job I've ever had and I'm gonna protect it. You know, I've been working for a something like this for years. Wonderful quarters. Swell food. Nice clothes. Not too much work. No worry. And a boss that likes my brand of liquor and cigars."

    Martin Murphy, "No sir, a job like this is thicker than blood. And sister or no sister, I'm not gonna lose it."

    Martin Murphy, "Remember boys, we are all gentlemen's gentlemen."
  • As someone who's not a fan of opera, I actually find Deanna Durbin enjoyable having liked her previously in Can't Help Singing among a few of her other movies I can't remember by title right now and in her debut with Judy Garland in the short Every Sunday. In addition to her singing voice on many tunes like "Nessun Dorma" at the end, Ms. Durbin also displays some wonderful humorous touches that matches the veteran comic supporting cast of male butlers that follow her around. I was even enjoying the not-too-compelling-story at least until Franchot Tone-whose character was seeing another woman-seemed to be starting an affair with Deanna. Ms. Durbin isn't the only one who performs, however, since in the beginning when we first see Tone's songwriter character, a couple of women who call themselves the Sunshine Twins (one of whom is Iris Adrian who I knew as the landlady in That Darn Cat-Hayley Mills version) do a funny number called "Is It True What They Say About Dixie?" in front of him. So musically and comically, His Butler's Sister was a mostly enjoyable Durbin vehicle.
  • This movie is a good example for the Old Classical Hollywood pictures! It has a lot of funny moments, nice, good-looking actors, incredible Durbin's charming voice and really nice and touching story! O.k. maybe it is not an high art movie, but people come on! These days we don't have high arts almost at all! Neither we have relaxing, touching with GOOD TASTE musicals!! Because, who's going to sing the way Durbin did??? There is nobody as gifted as the old actors! I mean, take just Astair, Garland, Crosby, Sinatra, Kelly! These days we don't have such in-every-way talented actors! They could do everything: musicals, comedies, drama. This movie is for everyone, who enjoys Classical movies!! It's worth seeing!
  • "His Butler's Sister" is a frustrating story. Much of the story is very good, there is an excellent supporting cast and Deanna Durbin sings an amazingly different version of "Nessun Dorma"...but the writing is confusing and uneven. It's a shame, as the film easily could have been so much better.

    Ann (Durbin) is headed to New York City to see her brother, Martin (Pat O'Brien). She is surprised when she sees him, as it's been many years* and he's NOT the successful man she thought he'd be. Instead, he's a butler for a successful song writer/producer....just the man Ann wants to meet because she has ambitions of being a professional singer. But Martin convinces her NOT to try auditioning for his boss (Franchot Tone), as MANY women try this and he is the gate keeper. But Martin's behaviors are very inconsistent...especially after Ann and his boss fall in love. At this point, the film is terribly confusing, though thankfully it soon ends on a high note.

    Hearing Durbin sing "Nessun Dorma" from "Turandot" by Puccini is a treat. It's a song written for tenors and I have never heard a woman singing it...let alone a soprano. But with Durbin's powerful voice, she manages to hit all the notes and this piece alone make the film worth your time. As for the story, well, it's weak and confusing...but the actors make it pleasant regardless.





    *Casting O'Brien as Durbin's brother was a poor choice. He was 22 years older than her...and he definitely looked this much older...perhaps more.
  • In 'His Butler's Sister' Deanna Durbin plays Anne, a small town girl who arrives in New York to make it on the stage. She intends to live with her older half-brother Martin (Pat O'Brien) whom she has not seen for years and who turns out not to be the millionaire she expected but something much better: The butler of a successful song writer (Charles Gerard, played by Franchot Tone), for whom Anne wanted to sing in any case. There are mistaken identities and other misunderstandings, some dastardly intrigues, a troop of butlers who all fall in love with Anne and any number of situations that will make you laugh out loud. Most importantly, this charming comedy-romance offers Deanna a lot of chances to demonstrate what an amazingly good soprano she was. In fact, I don't think Hollywood ever attracted a better classical singer - no wonder Maria Callas and Joan Sutherland were among her fans. In 'His Butler's Sister' Deanna sings some modern numbers, a Russian medley (in Russian), and towards the end an astounding interpretation of Nessun Dorma. The Russian medley is historically remarkable: Remember, back then the Soviet Union and the US were allies and there was a lot of sympathy for Russia. Also, the Universal Studios may have aimed at the Russian 'market', such as there was (earlier films with Deanna, for example 'One Hundred Men and a Girl', did appear in Russia). What did not convince me is the character of Anne's half-brother Martin, or rather, why both Anna and Charles keep forgiving him his really nasty intrigues. But that does not change the fact that 'His Butler's Sister' is one of the best of Deanna Durbin's films - not quite at the level of 'One Hundred Men and a Girl', but still very very good. Don't miss it!
  • overseer-325 August 2001
    This is my favorite Deanna Durbin movie. She just glows in her role as Ann Carter. Her singing is gorgeous, move over Pavarotti! I couldn't disagree more with the reviewer who states it is an example of "script by committee". It's a moot point, ALL scripts were "made by committee" in the Golden Days of Hollywood, and sometimes other people's input can be invaluable to add spice to a script that would otherwise be lackluster.

    There is lots of everything a lover of old time musicals would enjoy in this film: comedy bits by the "Sunshine twins" (singing "Is It True What They Say About Dixie?"), and the chemistry between "The Boys" (the other butlers of different nationalities who are all in love with Ann), beautiful music, including the original "In The Spirit Of The Moonlight" and the classics "When You're Away" (Victor Herbert), a rousing number of Russian folk songs including "Two Guitars" that Deanna sings beautifully in Russian, and an English version of "None Must Sleep" (Nessun Dorma). Music to melt you. And very nice chemistry between Deanna and Franchot.

    If there hadn't been a Judy Garland, Deanna Durbin would be much better remembered today, and this film is one of her finest vehicles. Believe me, you can purchase a lot of videos of old movies based on "script by committee" that do not compare to the pleasure that this one provides.
  • lyrast8 November 2008
    Warning: Spoilers
    Sometimes revisiting things of the past can be disillusioning. I've found that to be the case particularly in reading stories which enchanted me when young, only to discover that they has lost all their magic. It can even lead to the melancholy awareness that we have lost the youthful innocence which allowed us to be tickled with a feather. Well , I'm happy to say that the opposite happened to me when I watched His Sister's Butler {1943). Not only was all the magic there it seemed even more intense. The film has a wonderful unselfconscious innocence which is completely delightful. It is beautifully made and the fact that it is a "fable about the day before yesterday" justifies its sweet fairy-tale tone.

    It is common to refer to this film as a Deanna Durbin "vehicle". And certainly to an extent this is true. Durbin is lovely in the role. One can hardly wait for her to put her beautiful, full mezzo-soprano on display. All the delays in her doing so are carefully and cleverly integrated into the plot and when she does sing, we love it! {At least I do} But there are so many other great things in this heart warming film.

    The five Butlers are genuinely funny whether they help Ann shop or "propose" {ask her to become first maid at their respective workplaces!}. Pat O'Brien {Ann's brother} is excellent in his role and Franchot Tone {Charles Gerard} is an appropriately suave leading man. All of the minor parts are vigorously acted—even the tiny part of Lady Sloughberry stands out {played by none other than the marvellous Florence Bates—remember her memorable part in Rebecca? }. The two brash ladies that try to collar Gerard at the very opening are integral to the plot. They make credible Gerard's unwillingness to give auditions—as is made clear later by O'Brien's character. Camera work is quite skillful. Durbin's entrance is done by a long tracking shot which focuses entirely on her back—as she searches for a seat. Another nice tracking shot takes us to the top of the hotel where Gerard has his Penthouse flat. The cross-cuts between Durbin and Tone as she sings {she thinks to him} and he listens {he thinks to the radio!} are very effective.

    Yes, it ends predictably! But all good fairy-tales have the Prince and Princess living "Happily ever After"! And that's the way it should be.

    Wonderful film.
  • Warning: Spoilers
    Copyright 17 November 1943 by Universal Pictures Co., Inc. New York opening at Loew's Criterion: 29 December 1943. U.S. release: 26 November 1943. Australian release: 9 March 1944. 8,369 feet. 93 minutes.

    SYNOPSIS: Anxious to further her singing career, a young lady journeys to New York to seek help from her half-brother.

    NOTES: Nominated for a prestigious Hollywood award for Best Sound Recording, losing to Wilson. Although it was only moderately successful in America and England, His Butler's Sister proved a smash hit in Australia, placing 4th (ahead of Casablanca) in the annual list of the nation's top money-makers.

    PRINCIPAL MIRACLE: Deanna Durbin.

    COMMENT: Dazzlingly directed by Frank Borzage, using long, rapidly fluid takes through crowded sets, this is a superlatively produced offering, charmingly and ingratiatingly acted from a cleverly characterised, engagingly amusing script. Miss Durbin has never looked more beautiful, thanks to Woody Bredell's ultra-glossy lighting, Adrian gowns, and flattering make-up. Despite a few slight glitches in the sound recording, her voice has never been better either. Her co-star, Franchot Tone, is gracefully debonair, whilst Pat O'Brien gives sterling contrast as his Iago-like butler.

    A wonderful array of support players, led by Walter Catlett and Andrew Tombes complete the picture.

    The sets are most pleasing too. Universal has not spared the pennies on this winning, artistically crafted and ideally realised musical comedy romance.

    OTHER VIEWS: One of Miss Durbin's best pictures. A delightful and amusing script, a splendid cast, A-1 production values, all under the superlative direction of that stylish master craftsman, Frank Borzage. The film is a trife over-long for such a slight plot, but the last act comes across with terrific emotional punch. -- JHR writing as Charles Freeman.
  • bkoganbing25 January 2006
    Deanna Durbin was blossoming quite nicely into adulthood by the time His Butler's Sister was made. A pity that a whole bunch of talented people were wasted on this one.

    Deanna's traveling east to live with her stepbrother, Pat O'Brien, and she thinks he's rich. He's not rich, he just works for the rich, specifically as Franchot Tone's butler. She finds out the truth when she arrives, but Tone is also a Broadway author.

    But O'Brien doesn't want her to sing at all. Because Tone is bothered by would be performers all the time, O'Brien figures his own job will be in jeopardy. So he explains her presence in the apartment by saying she's a maid who he's just hired.

    Sheer and utter nonsense. Tone's a guy who knows this is part of the game he's in, so what is the big deal?

    Deanna sings some nice tunes in this, especially Victor Herbert's When You're Away. And her youthful spirits make some real believers in the other butlers of the building, Akim Tamiroff, Hans Conreid, Alan Mowbray. Walter Catlett has a nice bit as a producer with more than musicals on his mind.

    If you're a fan of Deanna's though you will like it.
  • This film is really lovely.

    Deanna is in top form, so pretty too here!

    The ending always makes me cry no matter how many times I've watched the film!

    How nice now to be able to watch it on DVD sixty-four years after it came out and be captivated all over again just like all the butlers in the film were! Everything about it seems just right with lots of nice touches.

    I recently bought the DVD Collection of all Deanna's movies but I have only ever seen two others. One of the others is "Can't Help Singing!"

    Another very happy experience (in colour!)

    Thank you glorious Deanna! Victor (London) 15-5-2007
  • Frank Borzage was one of the great directors and has left behind a solid body of artistic work. Deanna Durbin had an amazing screen presence that commands a following even 40 years after her retirement. Yet, this movie is totally dreadful. Why? Because the script is a prime example of too many people meddling in it: put in some broad comedy here, a little love-interest over there. Honestly, I've worked in movies for a quarter-century and I couldn't tell what the characters were about since they kept flip-flopping their motives and attitudes every few frames. It's as if the producers were acting out their ambivalence with Durbin's rapidly-approaching adulthood: let's make her sweet and innocent but show off her great legs; let's make her a love interest but downplay that angle, etc. Believe me, this one can give you a headache.
  • Coming after the grave "stage door canteen" ,which ,in spite of funny scenes ,dealt about soldiers about to go to war,"his butler's sister" is some kind of comic relief.Deanna Durbin is a very good-looking actress and songstress -even if ,like me,her style is not your cup of tea-and watching Franchot Tone at work is always a joy to me.Anyway they do not appear in what is for me the funniest of the whole movie :girls mistaking a salesman for a composer and discovering that what he sells is not what they were expecting.

    The movie features several songs ,the last one being some kind of communication as it was the case in other Borzage works such as "I'll always love you" or " smiling through" ,though in a lighter way.
  • aberlour3623 August 2009
    One can't blame Deanna Durbin for the low quality of some of her films. Beautiful and with a lovely voice, she got stuck at Universal Studios, in "poverty row," a company that made few memorable musicals. This film is a case in point. Check out the clearly artificial urban landscape scenes, the lousy script, and skinny, smirking Francot Tone as the love interest. My guess is that Universal made the film in a couple of weeks and quickly shipped it to theaters. In one scene, about 70 percent through the film, Durbin is dancing with Tone in a (what else?)night club. One can see clearly that her wedding ring has been covered with flesh-colored tape. If that were not bad enough, the camera focuses in on the hand while the two dancers who are blathering about the woman's desire to get into show biz. In short, this is a Durbin film to skip. And it's not her fault. She could act and sing rings around a large number of famous actresses in better studios.
  • I am a lover of all old movies especially musicals, and I find this to be the absolute worst I've seen. I do enjoy Judy Garland, so that may be partially why I don't like Durbin's style. She doesn't seem to have the sparkle of any of the great musical stars such as Alice Faye or Kathryn Grayson. She is very beautiful, but I think she should have been a chorus girl, or a musical specialty. Most movies that I have seen that weren't the greatest still had the leading actress giving a good performance even under the most stupid circumstances.

    Now that I've expressed my opinion of the star I can restate much of what others have commented on, the script. In this movie I didn't believe anything. I thought the way Durbin was acting towards her brother was real LOVE, not family love. It was horrible. I'll see another Deanna Durbin film and hopefully I can find something nicer to say about it.