Auntie Mame (1958) User Reviews (140)

The One and Only Mame

[carflo · 9/10 · 21 November 2003]

Sometimes you see a movie and you know that the actor or actress in it was born to play that part.

Clark Gable in Gone with the Wind

Bette Davis in All About Eve

Barbra Streisand in Hello, Dolly

Rosalind Russell in Auntie Mame

I love Russell and the parts she played. She was a liberated woman before the rest of the world knew that women needed to be liberated.

But in Auntie Mame she reached her peak. Mame is so vibrant and alive. She flaunts every one of Mame's eccentricities without stepping over the line into caricature. She also brings alive Mame's decency, compassion and tolerance. When I watch it, I almost feel ashamed of myself for being such a stick in the mud.

I enjoyed the musical with Lucille Ball, but all the way through it - I wanted it to be Rosalind Russell playing the part. It takes very little imagination on my part to hear her singing the songs. Rosalind, you are "just sensational" as Mame.

"She's the Pied Piper!"

[moonspinner55 · 7/10 · 20 August 2007]

From the cartoon kaleidoscope opening to the last walk up the staircase for Mame Dennis, this comically-contrived and highly theatrical movie version of the celebrated Broadway success is nevertheless pleasing in almost every sense. Director Morton DaCosta, who also helmed the stage version, uses the theatricality of the piece to his advantage, giving the proceedings the shiny look and feel of a holiday bauble. The movie takes off running, bursting with chatter and frivolity, and Rosalind Russell is a great crazy-quilt hostess, often going in three directions at once. The story of an orphaned lad in 1928 who goes to live with his batty aunt in New York City started life as a book by Patrick Dennis, with Russell playing the lead once it was turned into a play. The film-version doesn't try to disguise the stage origins, but then it doesn't really have to; DaCosta keeps the pacing so brisk, with characters entering and exiting rapidly, that initially the viewer may feel as though something important may have been missed. The picture isn't loaded down with artificial charm. On the contrary, the romantic sub-plot between Russell and oil tycoon Forrest Tucker (which, again, is quick--in and out) is genuinely sweet (this is Tucker's triumph as much as it is Russell's) and the supporting players are impeccably well-cast, bouncing off each other like frenetic ornaments. While the plot does slip into an episodic structure (and does feel a bit lengthy), the smooth maneuvering of characters and quirks and hang-ups and hang-overs is an awful lot of fun. As for Russell, she gives shading and feeling to this woman; her exuberance can be taken as a put-on (for laughs), yet we never lose sight of Mame Dennis as a ballsy, bright lady, and she never lapses into bitchiness. Mame may have been real, or maybe just a literary confection, but she isn't a phony. She believes life is a banquet, and gets us to believe it too. *** from ****

Mame is Alive

[newportironman · 9/10 · 12 June 2004]

St. Iranaeous said it: "The glory of God is man fully alive."

Auntie Mame in her own way lives this life. This may not appear to be a deep movie. But, Mame lives a life that as Agnes Gooch says "I see what she's been living. And I see what I've been missing." She doesn't miss a moment. She's a caricature for so many of the things that go wrong with "growing up" and becoming "mature and responsible". At the end of the day Mame shows the possibilities of a life led to the full. Of a life that is truly vital and alive. This is a movie everyone who wants to leave this world without leaving money on the table should watch and take to heart. Mame is childlike, fun, and living without fear of what others think. This is on my top 10 list.

One of the greats!!!!

[philip-1 · 17 February 2001]

Auntie Mame is a long movie, but it goes by as fast as a giggle!! There are few movies that I care to watch over and over again. I never tire of Auntie Mame because the screenplay is simply a brilliant piece of work. Comden and Greene are from the laudable days where one was expected to engage the brain when writing comedy! Practically every line is a quotable classic. Warner Brothers did us all a service by hiring theater director Morton da Costa to recreate the Broadway stage play. The movie is classy, sumptuously designed and brilliantly staged with those exquisite blackouts after each scene. Rosalind Russell should have won an Academy Award for this role (she refused to campaign for it) because no one will ever come close to getting that perfect timing that she displays in every scene. You love her from the moment she shakes the monkey's hand in the second scene. The supporting cast is perfection, especially Coral Browne, an undeservedly little known actress who makes a meal of Vera Charles. Peggy Cass is hilarious as Agnes Gooch; Forrest Tucker a charmer as Burnside. Everything about this picture makes it a true classic of the American cinema; one of those rare movies that makes you laugh, but even more important, makes you feel good!!! They don't get any better than this!

Perfect? Just about!

[Holdjerhorses · 10/10 · 2 January 2005]

When "Auntie Mame" was first published, I read and re-read it (and its sequel, "Around the World with Auntie Mame") for several summers. Believe it or not, the books are even funnier than the film. They were not "memoirs," though that was the PR at the time. Edward Everett Tanner, or "Patrick Dennis," ultimately admitted as much. Auntie Mame was a creation from Tanner's own talented imagination.

No one ever has, or ever will, embody Auntie Mame as well as Rosalind Russell, who, by the time her Broadway performance in the role was filmed, had honed her portrayal to one of the finest in American theatre and film.

Listen to her vocal technique: from high girlish squeals to basso-profundo sarcasm.

Or watch her remarkable body language throughout -- from grande dame theatricality to lowbrow burlesque.

Russell's supporting players are magnificent -- from the 12-year old Jan Handzlik, through Coral Browne, Peggy Cass, Forrest Tucker, Fred Clark, Patrick Knowles, Connie Gilchrist, Yuki Shimoda, Robin Hughes, Roger Smith, Pippa Scott -- and, my own particular favorites who almost, but not quite, steal their scenes from Miss Russell: Willard Waterman, Lee Patrick and Joanna Barnes as the unforgettable Upsons.

George James Hopkins' brilliant sets and set design, and Orry-Kelly's amazing costumes, along with Branislau Kaper's score and Morton Da Costa's direction are like Tiffany settings, showing off this flawless cast at the top of their form.

Lawrence and Lee's original Broadway script was adapted by Betty Comden and Adolph Green, whose main contribution would appear to be the hydraulic furniture at the final dinner party.

The famous line, originally from the Broadway play and not found in the novel, is "Life is a banquet! And most poor sons-of-bitches are starving to death!" "Damn" and "hell" both are heard in the film: but "sons-of-bitches" was apparently too strong for the MPAA in 1958.

Is the film dated? I suppose. In the same way that "Citizen Kane" is dated, or "Some Like It Hot." It's also timeless. And Miss Russell's performance, here at the zenith of her long and distinguished comedic and dramatic career (Eugene O'Neill's "Mourning Becomes Electra," anybody?) is an acting lesson unto itself.

I love this movie!

[techiegurl · 10/10 · 3 February 2005]

This is one of the best films I have EVER seen, and I watch a lot of films, as I am sure most of you do. First, it is an excellent adaptation of the book. They managed to follow the story line extremely well. Yes, somethings were left out, but all and all, they did a great job. Second, Rosaline Russell rocks! It doesn't matter what character she plays, she is fantastic, but she IS Mame, nobody can do it like her. Forget about the musical version (MAME) with Lucille Ball ( who is a great actress in her own right, but certainly not in the same ballpark with Ms. Russell). Third, it is not only funny, but heartwarming. The relationship between Mame and Patrick speaks volumes about what love should be, completely accepting of who the other person is, even if you don't always agree with them or like what they do. Fantastic family film, fun for everyone.

Roz Shines as Mame

[nycritic · 10/10 · 26 November 2005]

I have no doubts that Mame Dennis' human counterpart must have been a larger-than-life character and Patrick Dennis must have held a huge admiration for this Renaissance woman who could touch anyone with her carefree attitude towards life. Rosalind Russell, who's only other major success in the Fifties (up until then) was a supporting role in PICNIC, single-handedly takes full charge of her comic timing to create a fully-formed person as Mame Dennis and in doing so has created a legacy that will be remembered a hundred years from now.

The story of AUNTIE MAME is well-known for both movie goers and for theatre goers who saw not only Roz but Angela Lansbury as well. Mame Dennis is an eccentric character of a woman who is raising a young boy, Patrick, and exposing him to a flurry of her own misadventures, including the loss of her fortune in the stock market crash. Mame, however, perseveres through her own joie-de-vivre and despite working menial jobs and a bit part in a play starring her friend Vera Ralston. She meets and marries Beauregard Jackson Burnside despite the machinations of his family (and especially Sally Cato), travels the world, becomes a widow, and in later years, has to confront that Patrick, now a grown man, is embarrassed by her very personality and is about to marry into conformity.

Morton daCosta has created an ageless movie with a dazzling set direction that reflects the passing of time and the evolution of Mame's persona. Clearly not one to value tradition, we see her home slowly go from a product of its time to an avant-guard, ultra sleek place, to a shrine of Eastern civilization. Mame herself evolves despite playing the flake: if anything, she is not a twit but someone who is aware of herself and what life is all about, and there is a touching scene near the end in which she is in full, golden regalia, looking like a Hindu goddess, in which we see the real woman inside pouring light onto the set as she prepares for her next journey. Who else could have done such a thing with this character? She, like this film, is perfect.

Welcome to life's banquet!

[mdm-11 · 10/10 · 16 October 2004]

Rosalind Russel in the role of a lifetime. Auntie Mame leads her beloved nephew on a roller-coaster ride from riches to rags back to riches, always teaching the boy to "live life to the fullest". The story begins just prior to the great stock market crash of 1929 and spins into present day (1958).

There are delightful moments with colorful characters, most noteworthy "Miss Gooch", an unwed mother and thus an outcast of respectable society. There are several touching scenes when the family is suffering in the great depression, but just as many funny ones, i. e. where Auntie Mame puts some biggoted snobs in their place.

I enjoyed this film slightly more than the later Lucille Ball musical version. Although Rosalind Russel is quite flamboyant, Lucille Ball is completely "over the top" and thus less credible. I recommend the 1958 original over the remake, although both are wonderful entertainment.

Don't be a sucker and join the banquet!

[ElMaruecan82 · 7/10 · 7 August 2021]

For many years, "Auntie Mame" was *that* movie the AFI list buff I was couldn't ignore: 94th entry in AFI's Top Laughs and 93th quote: "Life is a banquet and most poor suckers are starving to death", that's all I had to heighten my expectations of a comedy with an inspirational life message, featuring one of these happy-go-lucky and flamboyant characters who'd made better life therapists than experts in the flesh. Now if I can think of better candidates as classic comedies, I admit Rosalind Russell is a spectacle by herself, giving a tremendous and rightfully Oscar-nominated performance.

The film opens with its best gag: the reading of a will made by Mr. Edwin Dennis, a wealthy businessman, putting his sole heir Patrick under the care of his aunt Mame. It starts with straight, sane and sound, reading and then the voice-over goes all hysterical at the mention of the woman's usual shenanigans, to which Edwin insists they shall never interfere with his son's education, with which he entrusted the conservative Dwight Babcock, a trustee of the Knickerbocker Bank. Doubting this will would have any effect in the next years given his healthy condition, Mr. Dennis signs on what will be his penultimate day on Earth. News headlines reveal his death the day after and that made me think: if the film can make me laugh without any characters present, that's quite promising.

The reading is also narratively efficient as it sets up the exuberant personality of Mame Dennis or Auntie Mame and puts the viewer in the right mindset before the plot takes off. Still, there's not much plot in Morton DaCosta film which is a succession of vignette-like episodes spanning 18 years from 1928 to 1946, with only one mention of the 1929 crash and a mere allusion to World War II that the older Patrick Dennis miraculously dodged. But I guess any movie lover from the 2020s would find elements of enjoyment most notably the peculiar but so appealing personality of Auntie Mame, a flamboyant and exuberant spinster who brings a vibrant energy in every scene she in, which means all the film.

Her first scene sets the tone: she's a party-giving socialite, a thrill-seeker with a unique talent to surround herself with the weirdest personalities: a man running a nudist school, an orthodox archbishop, a constantly giggling Japanese butler (Yuki Shimoda) and so and so. But she passes the first test of character when she welcomes the young orphaned Patrick (Jan Dizlmick) with the kind of reassuring warmth and gentleness many of us who had an eccentric aunt can relate to; and while Rosalind Russell, with her unmistakable raspy voice and her larger-than-life personality; provides all the spices that makes the story digestible, the film benefits from strong supporting players like Vera (Coral Browne) a friend who's made a habit of passing out before any party ends and there's the big Fred Clark as the conservative banker and comic-relief antagonist.

Mame's antics might get on some viewers' nerves, this is why one should remember the time of its release, a darling for costume comedy-dramas and stage adaptations (it was the year of "The Cat on a Hot Tin Roof" and "Gigi"). If anything, "Auntie Mame" is an extravaganza trip with a clothesline-plot on which to hang slightly disjointed episodes: Mame being broke after the crash, Mame as an actress, as a toy seller, as a wannabe Southern belle and lousy cavalier in the one action sequence, Mame as the wife of a smitten Southern played by Forrest Tucker, Mame as a globe-trotter, a merry widow etc. Etc.

The story can be regarded as a studio excuse for a superproduction with lavish award-baity costumes and set designs. Indeed, the fashion changes, so does the decoration of the apartment where the living room and the stairs are the most permanent elements, these changes in style (but not in colore) highlight the one unmovable force: Mame. And the conflict comes from the very fact that Patrick changes, becoming a stuffy adult (Roger Smith) since Mame's marriage allowed Babcock to strengthen his influence and push the boy into courting one of these rich vain college girls, Gloria (Joanna Barnes) who's so caricatural you'd wonder what he found in her.

It's a miracle that the film avoids confusion with all the things going on and the inclusion of late characters: Robin Hughes as a writer helping Mame to write an autobiography and an awkward secretary named Agnes Gooch played by Peggy Cass. The film oscillates between some serious and light moments, there is black comedy and attempts at seriousness, but one shouldn't overthink it and consider that it's just a stage turned into a film. The attempts to recreate the Egyptian setting and Indian have the obsolete charms of old silent films, there' even a scene with Paris in the backdrop and you can clearly see the immobile cars. Less than flaws, these are artistic licenses giving the film its theatrical touch, just like this way DaCosta ends each scene with a fade out but leaving a little spotlight on Russell's face.

Indeed this is a film that asks us to embrace the histrionic and joyful spirit of Mame, I doubt this would work as efficiently as Edward Everett Tanner's book, which I haven't read but from the readers' comments, struck me as a real eye-opener and life-changer. At the end, "Auntie Mame" is a product of its time and I guess the best thing it does is reminding of the comedic potential of Rosalind Russell who gives the performance of a lifetime. I just saw her in a "What's My Line" clip from 1953, and it's got to be one of the funniest mystery guest segment sever so she was definitely fit for the role because she can be funny without trying hard, and also genuinely warm and nice.

So there are directors' films, producers' films, "Auntie Mame" is definitely what we can call an actress' film, and her name was Rosalind Russell.

"Auntie Mame" is a perfectly delightful comedy

[dhaufrect · 10/10 · 26 June 2004]

"Auntie Mame" is a comedy for all time. It was released in 1958, and it remains a cinematic treasure for all to enjoy. Rosalind Russell gives the performance of her lifetime. She remains quick and witty throughout the film as Mame Dennis, the delightfully funny aunt of Patrick Dennis whose deceased father puts her in charge of his life. The author, also by the name of Patrick Dennis, deserves kudos for this excellent film adaptation. One of the more memorable characters, Agnes Gouch, played by Peggy Cass, provides the audience with comic antics that make you chuckle for days after viewing this picture. It is a perfectly delightful comedy that must be in the serious collector's film library. Don't miss it.

Loved it, but...

[utgard14 · 7/10 · 28 December 2013]

Orphaned boy is raised by flamboyant aunt (Rosalind Russell) and we see him go from child to man. The whole movie is basically a hurricane performance by Russell, as she blows away everybody else on screen. The rest of the cast is fine (with one noticeable exception), but Russell is on a different planet. The exception to the fine cast is Peggy Cass as Agnes Gooch. I couldn't stand this character or the performance. It was so theatrical it felt out of place. One could argue Russell's performance was theatrical as well, but being a screen vet she knew how to strike the right balance between the two. I could picture Cass doing this shtick in the play and it would go over big. As a matter of fact, it did go over big as she won a Tony for it. But, to me, it does not translate to screen well at all. Regardless, it's a good movie. Fun, witty, and full of heart. I preferred the first half most. Once Gooch and Robin Hughes' character enter the picture it loses a little of its shine. I am sure my opinion on that is in the minority, but it's how I feel. See it for yourself and decide.

Grand entertainment!

[Maciste_Brother · 10/10 · 9 January 2007]

I've never seen AUNTIE MAME until I was a full grown man and have seen countless of films of all sorts, from old Hollywood movies to experimental flicks from Europe to trashy, exploitation films. I've heard of AM but never sought it out. So one day I watched it when it was playing on some classic movie channel and I'm glad I did. AUNTIE MAME is a great film, one of those larger-than-life kind of films that they really don't make anymore. It's most definitely top drawer.

After I saw it for the first time, my initial complaint about AUNTIE MAME was that it's basically a filmed stage play. Nothing too difficult about that: just plunk a film camera in the middle of an empty theater and shoot the play. But after seeing the widescreen version on the DVD (as opposed to the full-screen presentation on TV), my admiration for it has grown exponentially and now see how special this film is. The folks behind the camera created something more than a filmed stageplay. The look of it (the pastel colors), the acting, everything perfectly suits the movie and they didn't need to change anything about it.

The only negative aspect I still have about AM though is the transition between young and older Patrick. The actor who plays young Patrick is very charming and fun and we become accustomed to seeing him (the heart of the movie happens during the first part) so when they change from young Patrick to older Patrick, I'm always jarred about this sudden change (besides, I've never cared much for the older Patrick). They probably should have added some scenes where Mame sees the boy grow up and becomes a young man. But that's my only critique of AUNTIE MAME.

The rest, it's just about perfect: Rosalind Russell is flawless as Auntie Mame, the craziest aunt you can ever ask for. Her delivery is amazing and I'm always in awe of her complete understanding of the character (as opposed to Lucille Ball in the dreadful musical MAME). The cast of supporting actors are great, certainly Coral Browne (wish she had more scenes though). Again, the look of the film is a revelation on DVD (great use of Cinemascope) and the story is wickedly subversive with endlessly quotable dialogue (Exclusively what and restrictive to whom?) which, in the end, is the main reason why I really like this film. The story is a tad episodic, and like I've said before, the transition between young and old Patrick could have been done a bit better but story is about Mame's adventurous lifestyle and the episodic aspect of the screenplay suits it to a T. In fact, I'm glad the film didn't settle with just one boring storyline.

Wickedly funny, heartwarming and great to look at. What more can you ask for?

Entertaining But a Little Episodic

[cherold · 7/10 · 6 April 2013]

This tale of a young boy adopted by his artsy, eccentric aunt is terrifically entertaining but a little slack for parts of the first hour. At times it feels more like a series of amusing anecdotes than a real story, which may be while I most enjoyed the final part of the movie, which felt more cohesive, and was also notable for terrific small performances by Peggy Cass as the hapless Agnes Gooch and Pippa Scott as an odious socialite.

This is not to say I didn't enjoy the rest of the movie, but I wish it had all been as good as that final party.

I also wish the character of Patrick had been more developed. He is essentially a prop, an impossibly polite and untraumatized (considering his father dies at the film's start) young boy who grows into a young man who conveniently and instantly changes his mind on a major matter after one incident. But overall I enjoyed this.

Amazing sets and crisp photography, but a forced, 1950s plot and humor. Very.

[secondtake · 5/10 · 1 August 2010]

Auntie Mame (1958)

Rosalind Russell is a marvel, and she rules the ship here, thankfully. As a movie, overall, it hasn't worn well. The humor (and it is a comedy above all) is a product of some uptight 1950s Hollywood stuffiness, and the filming (the photography and editing both) are stiff. The movie is filled with rich color, and is sharp as a tack (it uses the superior Technirama lens and camera equipment, as well as newer one-part Technicolor color), but this is hardly compensation for a really dull product.

Worst of all, I think, is the story. It attempts to spice up things (mainly, at first, by exposing a child to adult humor, which doesn't totally slip past him) before the Hays Code fell away. It has a kind of "How to Marry a Millionaire" or "Pillow Talk" kind of obvious, forced story line, and if you love those movies, you might truly enjoy this one. But even if you do, you might find that many of the jokes are old, even for 1958. There really are portions, in small spurts, that are touching, or even (I do admit) funny, and some of the music is so period and scintillating, it works.

Above and beyond all complaints, I find, popping back and forth through it again (and avoiding the "story" per se), the set designs are really about as good as it gets. Scenes are color coordinated with exquisite perfection, like the department store scene (the one with the Tinker Toys) where it's all grey and red. Great stuff. And the modern apartment with the rising and falling benches (you'll see) is amazing 1950s stuff, pure Moderne. Love it.

But that doesn't mean you'll love the movie. Go prepared.

Unforgettable Performance By Rosalind Russell

[Snow Leopard · 2 November 2004]

With a perfect match between character and actress, Rosalind Russell's unforgettable performance as "Auntie Mame" is almost enough to carry the whole movie by itself. The story is also interesting, if quite contrived, and most of the supporting cast helps out when needed. The variety of settings and situations also helps to make the movie an effective portrait of a life.

The story works best when taken as an appreciative but light-hearted portrayal of a memorable character. Many of Mame's adventures are stylized, and they work best when not taken too seriously. Given that, there are plenty of amusing sequences, and just enough thoughtful moments to maintain some balance.

Russell herself is in her element. With a character whom it is almost impossible to overplay, she gives the role plenty of energy and charm. She also works very well with the other characters, giving believable (given the character) and usually interesting reactions to what they say and do.

In the supporting cast, Forrest Tucker and Peggy Cass make good use of their scenes, and Fred Clark works well as Mame's frequent adversary. Coral Browne gets some good moments as Mame's old friend. The filming was approached in a rather stagy fashion, yet much of the time this seems appropriate. All told, the movie has a number of strengths, yet the memory most likely to remain is Russell's portrait of Mame herself.

One of Best Movies of All Time

[dixiedad5 · 10/10 · 18 January 2007]

Roz Russell began her career as a dramatic actress. Early on, however, she claim her name to fame in comedy while performing in the film, "The Women" when she wisely elected to play her role of Sylvia Fowler in a slapstick way, and from there the stage was set. She grew as an actress in many different roles, so multi-talented, but if you ask me her very best role ever was within this film. In a very real sense, it took so much of her variety of talent to play the role of Mame Dennis - at times the film made you cry, but it usually had you laughing. Coral Browne gave an outstanding performance as Vera Charles - she and Russell were both under-rated actresses. Peggy Cass did a great job as well. To be honest, I never really saw Cass in much other than "To Tell The Truth" in the 1960's, but she was a great "sponge" of a secretary that was over 200 in Auntie Mame! Later, I very much enjoyed Roz Russell's Autobiography "Life is a Banquet" about that Cathoic girl from Waterbury, CT who worshiped at the Parish in Beverly Hills she called, "Our Lady of the Cadillacs" and although Russell was a devout Catholic, she did not show it off in the obnoxious way that Loretta Young did. Reverend Mother from "The Trouble With Angels" was certainly a beauty, an outstanding actress, and this was in my mind her very greatest film. From what I understand, she had a long tour on stage with the play before it was brought to the Warner lot. Very well done. I never bore of watching it. Whenever I want to feel good - there it is, so faithful, so there, just like Beekman Place! That's it!

You could practically write a whole book about what happened to her....

[mark.waltz · 10/10 · 30 September 2013]

And so somebody did. And from that came a play, this movie, eventually a musical comedy and finally the movie version of that musical comedy. Why nobody has tried to sitcom her is beyond me. Yet, for some reason, neither the play nor the musical have had major revivals, perhaps because no star today could top not only the original performers but those who replaced them on Broadway. With the exception of the star of the movie musical, it has been a triumph for everyone.

Everybody should have an Auntie Mame. I bet Patrick Dennis wishes he did, even though a relative of his claims to have been the model for her. Many people I know claim to have had an older female relative (or older gay male relative) whom they say came close, but the original is the one to watch. As played by Rosalind Russell, Mame Dennis Burnside is a role-model for those who clamor for life, even if they can't afford the wardrobe or travel destinations of this Beekman Place socialite.

Mame is a free spirit whose seemingly estranged brother dies suddenly, giving her custody of his young son. Jan Handzlik is the adorable little boy who immediately takes to his wacky aunt, in the midst of "affair" when he arrives with the stern Norah (veteran character actress Connie Gilchrist). Little Patrick is taken with the many wacky characters she either hangs around with or employs, most notably the effeminate butler Ito (Yuki Shimoda) and drunken stage star Vera Charles (Coral Browne) who "just loves little boys". But his father's trustee (Fred Clark) has his own suspicions about Mame's intentions for the boy's upbringing, and upon discovering the truth about the education he is receiving, threatens to take Patrick away from her for good.

In the meantime, Mame tries to have a career after the stock market crashes, hysterically destroying a play that Vera is starring in, cross-wiring the city of San Francisco with the wrong party and finally destroying a sales book in Macy's while trying to sell skates to the wealthy Jackson Pickett Burnside (Forrest Tucker). Romance with the wealthy southerner follows yet true romantic happiness is not to last. Content with what she's left with, Mame fixes up the life of her frantic secretary (the delightful Peggy Cass) and turns the older Patrick's (Roger Smith) life upside down when he becomes engaged to the wrong woman.

You could practically write a whole book of just the quotes from this wonderful comedy, consistently funny and sometimes heart warming and even briefly heart breaking. You could also write a book describing each and every character who pops in and out of the extremely long comedy that doesn't seem as long as it is. The opening credits, shown through a gloved hand turning a kaleidoscope, are a visual gem, as is the musical theme. Each act of Mame's life ends with the camera darkening as if a curtain was going down and cleverly adds to the delightful theatrical feel of the film.

The role of Norah Muldoon and secretary Agnes Gooch were combined for the musical, but here, each of them has an important task to fulfill. Gilchrist's Norah is stern but lovable, acerbic in her declaration of why a party didn't happen. "The bootlegger couldn't make it that night". Gooch comes on and when asked to describe what horrific thing she is wearing on her foot raspy voiced declares "Orthopedic Oxfords!". Many of the clever lines, simply spoke dramatically, were later utilized for Jerry Herman's delightful musical score, and while the film sometimes seems like it is screaming for those songs (particularly "Boosom Buddies", the acerbic duet between Mame and Vera, as well as the delightful title tune), but it manages to do even better on its own without them.

I have to give kudos to the delightful Joanna Barnes who brings her "top drawer" attitude hysterically to the role of the pretentious Gloria Upson, dramatically describing the horrific events of a ping pong tournament. Veteran Warner Brothers character actress Lee Patrick adds Billie Burke like silliness to her role of Gloria's mother, and Brook Byron is Southern hospitality with an imperious quality as Sally Cato. "Hot damn! My sister's gonna bust a gut!" her brother declares after Mame makes a showing while down south. "Goodbye Yankee Gal!" the enormous Carol Veazie saunters while Mame makes an attempt to ride a not-so-tame horse side saddle. More moments like this should be left for the viewer to discover on their own and truly enjoy with repeat viewings. You have to look fast in the party scene on the balcony where two obvious lesbians gather together with a society matron, obviously an unbilled Margaret Dumont, although she is credited here as being in Vera's play.

Director Morton Da Costa repeated his Broadway job and with the success of this film, brought the same kind of theatrical editing to his movie version of "The Music Man" which ironically starred the movie musical Beaugard, Robert Preston.

Magnificent Mame: An Essential

[gftbiloxi · 10/10 · 18 April 2005]

The Patrick Dennis novel was a runaway bestseller--and it was soon followed by a stage version starring Rosalind Russell, who was born to play the madcap Mame in this story of an eccentric, fast-living society woman of the 1920s who "inherits" her nephew when her brother died. The film version is virtually perfect in every possible way. Determined to "open doors" for her adoring nephew, Mame exposes to him everything from bootleg gin to oddball characters--all the while doing battle with her nephew's ultra-conservative trustee, who is equally determined that the boy's life remain free of "certain influences." This is a knockout show, and Rosalind Russell delivers a knockout performance in it--easily her finest comedy performance since 1939's THE WOMEN and 1940's HIS GIRL Friday. She is extremely well supported by the sadly under-acknowledged Coral Brown in the role of Vera Charles, an actress who passes out in Mame's apartment with considerable regularity, and Forrest Tucker as the Southern gentleman who becomes her knight in shining honor; the supporting cast, which includes Fred Clark, Peggy Cass (particularly memorable as Agnes Gooch, Jan Handzlik, Roger Smith, and Joanna Barnes is equally flawless.

The infamous "production code" was still somewhat in force when AUNTIE MAME was filmed, and consequently several of the play's most famous lines had to be re-written--but this scarcely gets in the way of Russell and company, and director DaCosta offers a brilliant compromise between the art of cinema and the "set piece" nature of the stage show. The production values are rich, the score is memorable, and everything about the show is a tremendous amount of fun; by the time it ends, you'll wish that Auntie Mame was yours.

Although there were a few minutes when I felt the film had been slightly cropped, the DVD version offers a visually stunning print of the film in its original ratio, and the sound is quite good as well. The few extras are nothing to speak of--but frankly, it hardly matters: this is one film you'll be glad to have on DVD, for you're likely to wear out a VHS in short order. If you need a good laugh, especially one with a slightly satirical edge, you'll adore AUNTIE MAME from start to finish. One of my favorite films, and strongly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

STANDING OVATION! - (10 stars out of 10)

[BJG-Reviews · 10/10 · 10 May 2023]

The stage curtains open ...

"How bleak was my puberty!"

"Auntie Mame" (1958) starring Rosalind Russell is a perfect film with one of the best characters to ever grace the silver screen played by one of the best actresses of her time. I was born 10 years after this movie was released, and I watched it for the first time in my early 20's, so it was already 30+ years old before I had even heard of it. I know, I know ... I was behind the times (as usual). But, better late than never, right? And I am SO glad I have seen it. Such a wonderful film at such a pivotal time in my life. But first ... what it's about.

When young Patrick Dennis loses his father, he goes to live with his only remaining relative, his Auntie Mame (Russell), in Manhattan. Eccentric, yet lovable, wild, yet marvelous, Mame sees the little boy for the first time, and as she says, 'It was love at first sight'. She takes him under her wing and introduces him to a completely different life, wanting to broaden his horizons and keep him from becoming ordinary or boring. We watch as Patrick grows into adulthood as a young man, while he and his Auntie learn to cope with loss and change. Each new situation becomes a landmark in his unorthodox childhood, but they are also near and dear to his heart - as he is to Auntie Mame's heart.

When I was in my early 20's, I was going through a divorce, and I was having a hard time dealing with it. In fact, I was miserable. My Mom got tired of me moping around the house (she took me in during that time to help me get back on my feet), and decided to do something about it. Instead of sitting me down and telling me to get my act together, this is what she did. She made me throw on a jacket, get in the car, and then took me down to the Baskin-Robbins where we got some ice cream. Then we went to the video store (yes, I'm that old) and she rented "Auntie Mame". Together, we sat and ate our ice cream and watched the movie. Sometimes, my Mom's ideas weren't so good ... but on this score, she was 100% right. I will always remember that night.

"Auntie Mame" is a special movie to me. It truly helped me through a rough time in my life. It made me smile and laugh - it made me forget my own troubles for couple of hours, and I am so grateful to my Mom for that night. Rosalind Russell was a gem. She was such a wonderful presence on the screen. And she shines in this movie. I recommend this movie at a perfect 10 stars out of 10. It IS movie perfection. If you are ever feeling down or depressed, watch this. Auntie Mame will always make you feel better.

what happened to the second half of the film?

[planktonrules · 7/10 · 13 July 2006]

I really liked the first portion of the movie when the little boy went to go live with his flamboyant and fun Auntie Mame. Watching all the interaction between her and the boy was really sweet and fun. And, when other "do gooders" tried to make her be a more conventional parent, this provided some wonderful moments as well. And so, up until towards the end, I really loved this film. And then, out of nowhere, the kid suddenly grows up in the space of only a few minutes and the film ends?! It was as if someone in charge said "hey--they public doesn't need a three hour film--just stop here and no one will be the wiser". And so, the story just seems to abruptly stop and left me very unsatisfied. It's too bad, as Rosalind Russell was in top form as the amazingly odd but lovable Auntie Mame.

The Greatest Madcap-Crazy-Aunt Movie Of the Past 90 Years

[Tarntarow · 10/10 · 9 September 2023]

The movie starts with Patrick's father dying, and he is sent to live with his late father's sister, who is, of course, Mame Dennis.

The movie starts off at breakneck pace and maintains that pace, like the book it is based upon.

Rosalind Rusell is stellar as Auntie Mame, an indefatigable character whose outlook on life is, "Life is a banquet, and most poor suckers are starving." (Of course, her wealth affords her her loose grip on the practicalities of life, but no more so than today).

The young Patrick Dennis is surprisingly good as an actor, as is the adult actor, Roger Smith. The whole plot revolves around Patrick's growing up and who will shape him. On one hand, we have the unbearably stuffy Mr. Babcock, who is all rules and regulations (and a snob) and on the other hand, Auntie Mame, ditzy but as loving as can be. And so the clash begins!

The movie is fashionably sophisticated for a 1950's movie passing itself off as a "progressive" outlook on life. Some of the reviews carp on the humour, calling "worn," but I suspect those people were not - like me - alive in the 1950s. I knew this kind of character growing up (not quite that ditzy, though!) and the humor and clever phrasing come at you right and left. Peggy Cass is outstanding as a frumpy woman whose greatest talent is her deadpan delivery in the movie.

Ito is a bit of a Japanese stereotype, and I still wince at how they wrote his lines, as well as Nora, Patrick's nanny. But aside from that, it is a movie to make you laugh, and moreover, to love the unconditional love that Auntie Mame has for Patrick, who she would move Heaven and Earth for. The tenderness in their solo scenes warms the heart unless someone has no sense of whimsy, in which case, go watch something dull and "sensible." A cinematic triumph for it's utter sense of zaniness, but at the same time, maintaining the core value: Lovingness. There's not another movie like it in the 70+ years I've been watching movies. I come back to it whenever I'm sad (which isn't often), but even more when I'm my usual jovial self and just want to watch a controlled pandemonium that Auntie Mame unleashes on its unsuspecting audience.

They could not make a movie like this today: people are too cynical and shut down, although it is great to see Barbie (which is close to this movie in its tone) becoming a smash hit. I have the feeling Barbie and Auntie Mame would really like each other! What could be more enjoyable to watch??

I dislike the tendency for everyone to be called "iconic" "classic" and "legendary," but this movie deserves all those accolades.

And that staircase is the unrecognized star of the movie where magical, moving - and hysterically funny - scenes take place where people come unglued, ascend, descend, or pose at the top (or bottom). It is a metaphor of the most illuminating, heartwrenching, moments of the movie, where tears, sadness, pain, laughter, but mostly Joy, take place. (Auntie Mame's only disagreement with Patrick takes place at the foot of the staircase (when he announces he's met THE girl (who's a snob and a half), but chastises her for her bohemian lifestyle which he doesn't want his precious "Glory" to know about. When she asks him if Glory should know that she finds him the most bourgeoise, babbity, little snob on the Eastern Seaboard....," it looks like a catastrophe is unfolding as he turns to leave, looking terribly hurt, but only saying "Well, it's been nice knowin' ya". And then Auntie Mame, tears in her eyes, calls out "Patrick" and he turns back to her (he's also almost in tears) and says "Auntie Mame" and she runs to him, arms outstretched. He also loves her dearly. And she tells him she loves him so, and she would do ANYTHING for him: join the DAR, "denounce Calvin Coolidge as a Bolshevik". I can't get through that scene without tears coming into my eyes. Unconditional Love - on the staircase! That staircase is a hero, I tell ya!!!

Recommended. But it could have been more.

[atlasmb · 7/10 · 4 June 2014]

While I agree with the general theme of the film--live life to its fullest--I cannot say that I find the film very successful. I had a grandmother who was rather flamboyant--artistic, outspoken, colorful, free-thinking. And genuine. It may be a minor point, but I find Mame's willingness to pretend to be what she is not ungenuine.

Would I want to know someone like Mame? Probably not. She is entertaining, but I think I would find her flightiness and exaggeration annoying.

I still recommend "Auntie Mame", but I cannot agree with those who place it among their pantheons of cinema. One wrote that Rosalind Russell was born to play the title role. She probably plays it as well as anyone could, but I must point to her role in "Picnic" as her crowning cinematic performance. One writer said that it's a long movie, but it goes by fast. I cannot agree. I felt it lagged, especially in the second half, and mostly during the fox hunt scene, which was out of place, as if purloined from "It's a Mad, Mad, Mad, Mad World."

I think the director wanted to maintain a reference with the (so successful) stage play by opting to end "acts" of the film with the stylish fade outs. I think the method is slightly too precious and self-conscious. The ending feels a little contrived in that manner. For comparison, I prefer the ending of "Camelot", with Richard Harris' touching lines.

The bottom line is that I think the film could have been more. There is plenty of acting talent on the screen.

Hardly profound, but an absolute blast

[Like_Wu_told_me · 8/10 · 8 September 2012]

Going into this movie, I had an open mind but expected a stagy, dated comedy. I was very pleasantly surprised to find a snappy, frank, and surprisingly fresh comedy filled with delightful performances and dialogue, colorful costumes and set designs, and a clichéd but solid message about life.

Rosalind Russell plays Mame Dennis, who takes in her nephew Patrick (Jan Handzlik) after her brother unexpectedly dies. What ensues is a very fun romp about the adventures and trials of Mame and Patrick over 9 years as he grows up and they weather the Great Depression. The film is populated by a wide assortment of colorful, entertaining characters and comedic situations. And, for a 54-year-old movie, I actually found it to be hilarious. I laughed out loud several times throughout, for example when Mame at one point tries to mount a horse, and the dialogue is genuinely funny without straining too hard, with jokes rarely falling flat. The film's comedic success is amplified by its enormous heart, which takes center stage during several dramatic, emotional moments. The film wears its heart on its sleeve but never lapses into overdone sentimentality.

As the movie's famous line goes, "Life's a banquet, and some poor suckers are starving to death." The film's message to live your own way and to the fullest no matter what really resonates, even if it is a bit unoriginal. The film takes thinly veiled shots at the norms, prejudices, and judgments of mid-20th century American society. It has a blast shooting down anti-Semitism, socioeconomic elitism, social judgment (involving such topics as unmarried pregnancy), to name a few, and it's 143-minute runtime flies by. The film itself, especially the cast, seems to be having a great time as it progresses, and I couldn't help but to be sucked right in.

The performances are very good across the board. Rosalind Russell is just perfect as Mame, capturing her larger-than-life personality and big heart. She's an ace at spouting out the character's lightning-fast lines with impeccable comic timing. Coral Browne also gives a great comic performance as Vera, although she doesn't have as much depth as Russell. The rest of the supporting cast are all very good as well. Jan Handzlik is endearing and funny as a young Patrick, and Peggy Cass is outstanding in a paper-thin role (she did a good job, but her Oscar nomination is perplexing). I also thought Joanna Barnes was a riot as Gloria, and Lee Patrick and Willard Waterman are excellent as her parents.

Overall, Auntie Mame is a hugely entertaining, even uplifting movie filled with wacky characters, spot-on comedic performances, hilarious writing, and a big heart. It's not the deepest movie you'll ever see, or the least conventional, but it's an absolute delight. Highly recommended.

Stagey but charming

[wisewebwoman · 7/10 · 23 May 2004]

I saw this again recently and was enchanted with Rosalind Russell who is full of flare and glamour. The supporting cast is also excellent, Forrest Tucker, Coral Brown and Roger Smith all shine. Peggy Cass also does an incredible turn as a repressed secretary who gets pregnant. The only drawbacks are the lack of depth to Mame's character, i.e. her dead brother was conventional why isn't she, and the fadeouts of each scene with a floodlight on Mame's face which consistently reinforces the stagey settings. Great cast, great costumes and sets. Weak on motivation and dialogue. A must-see for fans of the Great Roz.

7 out of 10 overall.

What did I just watch

[DrTuvok · 2/10 · 12 October 2021]

It lacks any kind of narrative, it hasn't got an ounce of brain cells, and it's over two hours. It's Auntie Mame!

I like old movies quite a bit. Even long pieces of fluff from this era can achieve greatness...even this same director, who would make the Music Man several years later. The Music Man is buoyed by memorable songs and acting while Auntie Mame is just...pretty obnoxious, to be honest. Every character is a fool, a caricature, or what is most often the case, both. The episodic, non-sequitor plot probably does it favors in the long run, since I dread to know what a drag it would have been if the filmmakers stuck to one fantasy-world setting.

Her "banquet" of "living" (which includes everything from wretched artistic taste to accidental pregnancies) seems like something that would curdle the stomach in real life, and, I kid you not, I vomited the night after witnessing it. Coincidence? Maybe.