On va se faire sonner les cloches

The acid tongued Clifton Webb who earned three Oscar nominations in the Forties, in the Fifties had his image considerably softened and for most of the rest of his career would be doing items like For Heaven's Sake. How much base was applied to this acid for Webb to team with Edmund Gwenn as a pair of angels trying to help some unborn kids make their earthy debuts.

Webb has the tougher assignment. Gigi Perreau's prospective parents are theatrical couple Bob Cummings and Joan Bennett who've become rather jaded and are on the verge of splitting. Against a lot of celestial advice including Gwenn's, Webb decides to materialize and become human. And as his role model, Webb takes on the persona of Gary Cooper as a western millionaire. In fact Webb is shown going into a theater and seeing Coop in a revival of The Westerner. This is just to get some background information as to how to pull off the character.

And he enters the lives of Cummings and Bennett as another kind of angel, a theatrical one. Of course without any money since they don't use any where he's from. But when he does acquire some money, Webb acquires a lot of earthly habits and problems to go along with the pleasures and perks of being corporeal.

Webb and Gwenn who would team up again in Mr. Scoutmaster have a nice easy chemistry that really carries For Heaven's Sake to some really nice heights. I'd also make note of performances by Joan Blondell as an actress playing one a lot like Joan Blondell, Harry Von Zell in a nice caricature of a real Texas oil millionaire and most of all Jack LaRue as an actor who really starts believing he is one of those gangster tough guys he portrays on the screen. I think LaRue took as his model George Raft though God only knows LaRue played plenty of gangsters in his own career.

For Heaven's Sake holds up very nicely after over 60 years and makes nice family viewing.

For Heaven's Sake has a number of witty lines and an interesting premise. If you charted this movie you would see a dip into sentimentality every time Edmund Gwenn shows up. He's such a joke killer in this film. Luckily, he doesn't show up too often. Robert Cummings, never an outstanding presence, turns in a forgettable performance as the theatrical husband and the proximity of his mediocrity somehow manages to suck the life out of the wife, played by Joan Bennett who is usually better than she comes across here. Clifton Webb, sans mustache, is a hoot. In my favorite scene he plays bebop on the harp. It's worth sitting through the whole film just to see that scene.

FOR HEAVEN'S SAKE, George Seaton's 1950 heavenly comedy, is worth seeing mostly for the very funny performance of Clifton Webb. Webb is the whole show, playing an angel who comes to earth to help overly busy couple Robert Cummings and Joan Bennett have a baby.

Cummings and Bennett really have very little to do and are mostly wasted, though Joan Blondell has several funny scenes and is her usual breezy, likeable self.

Not a classic heavenly fantasy like HERE COMES MR. JORDAN or IT'S A WONDERFUL LIFE, but enjoyable and worth seeing for Webb's fine comic performance.

Utterly charming comedy with Clifton Webb and Edmund Gwenn delightful as a pair of guardian angels tasked with getting a little girl born to a self absorbed but good hearted couple.

Joan Bennett comes across well as the prospective mother, a warm presence this film came along just as she was segueing from her period as a film noir chippy to character and mother roles. Joan Blondell is great fun as a flashy screenwriter injecting her special brand of zip whenever she's on screen. Robert Cummings is bland as the father to be but he fades into the background and doesn't hurt the picture.

As enjoyable as the two Joans are this is really Clifton's show and he makes the most of it especially after he temporarily returns to earth in human form and has many misadventures. A sweet, feel good film in the best sense of that phrase.

When Clifton Webb says this, he is referring to cowboy boots. In this exceptionally peculiar movie, he is an angel. So is Edmund Gwenn. Gigi Perreau and Tommy Rettig are also, though they are angels of a different, rather mawkish, sort.

When Webb utters this comment, he is pretending to be a Texan and an angel of a different sort: a theatrical angel. You see, little Gigi wants to be born as a human child (as does little Tommy.) Gigi has chosen her prospective parents: Robert Cummings and Joan Bennett. (Does this seem to anyone else like an unlikely match?) They are a theatrical couple -- he a director, she a star. They live in a chic Manhattan duplex. Cummings is urbane and Bennett looks luscious.

There are in-jokes about pets named Alfred and Lynn and tossed-off comments about Arlene and Martin. It has a swanky style.

Webb is saddled (no pun intended) with a highly unflattering hair style when he plays the Texas millionaire. He gets top billing but for the most part his considerable talents are wasted. OH! And he falls for the as always delightful, here tanned and rather plump Joan Blondell. She is playing a famous playwright.

The combination of the cynical story of the selfish theatrical people with the icky concept of angels waiting to be born as children makes for a fascinatingly strange concoction.