Delbert Mann

  • Fitzwilly (1967)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2022) There’s at least a conceptual chuckle in Fitzwilly’s premise—the idea of a butler engaged in larceny in order to keep his eccentric charge living in luxury despite a non-existent trust fund. Things get more amusing when a too-smart college-assistant joins the household, uncovers the various illegal machinations and falls in love with the devious butler. The charmingly amusing swindles grow alongside the lead’s growing concerns that the charade is coming to an end, which sets up a nicely droll finale. With Dick Van Dyke in the lead role, Fitzwilly is never less than pleasant. (Barbara Felton is also remarkable in glasses and turtleneck, but I digress.)  But I’m not sure I laughed at any point in the film—it’s all quite cute and charming, but not exactly as funny as it could be. The one thing it has in its favour is being dressed up in peak 1960s style: sets, fashions and even attitude seem to exist in a very narrow band of years. Otherwise, though, Fitzwilly struggles to be anything more than adequate—it’s certainly watchable, but there’s little here that would justify a rewatch even a few years later. Maybe Delbert Mann’s direction just isn’t flashy enough to take advantage of Van Dyke’s skills or premise’s possibilities—or maybe it’s just a low-key comedy content with just being what it is.

  • Separate Tables (1958)

    Separate Tables (1958)

    ByChristian Sauvé Movie Review

    (On Cable TV, November 2019) It’s interesting how various genres of film age well (or not) due to different factors. Something often underestimated is thespian intensity, especially in those movies designed to be actor showcases. Separate Tables starts from strong dramatic material, being adapted from a pair of short theatre plays. This is most clearly seen in the strong dramatic unity of the result, taking place over a few days in a secluded hotel where two pairs of guests have largely separate subplots. On one side, a man (a typically intense Burt Lancaster) has to pick between his nice new girlfriend and his shrewish ex-wife (Rita Hayworth, glammed up to the point where she can be mistaken for Grace Kelly). The dialogue pyrotechnics here occasionally suggests Who’s Afraid of Virginia Wolfe?, with a conclusion that may surprise you. On the other main subplot, an officer with a mystery past (David Niven, up to his high standards) beguiles a spinster (Deborah Kerr, strongly de-glammed) trying to get away from the influence of her mother. The addition of a bit of romantic comic relief between two young lovers helps ease into the film before the dramatic intensity starts. Under Delbert Mann’s direction, the film benefits from clean images, unobtrusive direction and full leeway for actors to deliver on the material. The result was nominated for nine Academy Awards (including Best Picture) and won two acting awards. Clearly, this showcase certainly worked, and it helps Separate Tables to be worth a look even today.