Among all the enthusiastic reviews for this movie, it is hard to find a sufficiency of praise for the work of Edward Arnold. A familiar face on the screen in the thirties and forties, with his round face, solid body, and trademark pince-nez, Arnold surpasses himself in this film
Too often type-cast as a plutocrat, Arnold nevertheless demonstrates nuance and sensitivity as a man who, despite many flaws and faults, is redeemed by his love for his son. Arnold is seldom credited with the subtlety and poignancy of his characterizations, probably because he generally played greedy capitalists in a time when greedy capitalists were even more frightening than they are (and properly so) now, but this is an omission that should be corrected. His characterization in this comedy is a powerful performance, and grossly under-appreciated. He was one of the masters of American cinematic acting, with never a false note on his performances, and it is shameful that he is not so acknowledged.
Too often type-cast as a plutocrat, Arnold nevertheless demonstrates nuance and sensitivity as a man who, despite many flaws and faults, is redeemed by his love for his son. Arnold is seldom credited with the subtlety and poignancy of his characterizations, probably because he generally played greedy capitalists in a time when greedy capitalists were even more frightening than they are (and properly so) now, but this is an omission that should be corrected. His characterization in this comedy is a powerful performance, and grossly under-appreciated. He was one of the masters of American cinematic acting, with never a false note on his performances, and it is shameful that he is not so acknowledged.