You Can't Take It With You

Director: Frank Capra
Written by: Robert Riskin, based on the play by George S. Kaufman and Moss Hart
Year: 1938
Genre: Comedy
My rating: 4 and a half out of 5

Anthony P. Kirby, Sr. (Edward Arnold) is a well-respected banker, not to mention a millionaire. Shortly after promoting his son, Tony (James Stewart), to vice president of his company, he learns that Tony is engaged to Alice Sycamore (Jean Arthur), of the eccentric Sycamore family, who all seem to live in the same house. The family goes something like this: the paterfamilias is Grandpa Martin Vanderhof (Lionel Barrymore), who hasn't worked a day in 35 years and has never in his life payed income tax. His daughter is Penny Sycamore (Spring Byington), a playwright currently writing about monestaries despite having essentially no knowledge of them. Penny's husband is Paul Sycamore (Samuel S. Hinds), who illegally manufactures fireworks in the basement with Mr. DePinna (Halliwell Hobbes). Also working in the basement are Mr. Poppins (Donald Meek) the inventor and Ed Carmichael (Dub Taylor), a marimba-player married to Penny and Paul's daughter, Essie (Ann Miller). Essie, Alice's sister, is learning ballet, and her very Russian dance coach is Boris Kolenkhov (Mischa Auer). The family's newly-engaged hired help are Rheba (Lillian Yarbo) and Donald (Eddie Anderson). Kirby, Sr., and his wife strongly disapprove of Tony and Alice's relationship, and Alice tries desperately to make them like her. She invites the Kirbys over for dinner, but Tony wants his parents to see them in their normal state, and brings them over one night early, leading to a wonderfully amusing scene (see the Mise en Scene below) and disastrous results.

"You Can't Take It With You" is groundbreaking in two distinct ways. First, it has one of the most accessible themes of any of Capras films. Its pro-individualism stance is obvious, yet enjoyable. Second, it has had very noticeable influence on other comedies, from "Guess Who's Coming To Dinner" to "Meet the Parents." Just like "It Happened One Night," many parts of its plot have been revised and reused in other films. As well as being popular with filmmakers from the 40s until now, it was very popular in its own time, winning Academy Awards for Best Picture and Best Director (Capra's third win for Director in five years). It was also nominated for Best Supporting Actress (Spring Byington), Best Screenplay (Robert Riskin), Best Cinematography (Joseph Walker), Best Film Editing (Gene Havlick), and Best Sound Recording (John P. Livadary).


Structure/Form:
What does the title mean in relation to the film as a whole?
There is a scene where Grandpa Vanderhof says to Kirby, Sr.: "Well, you used to play [harmonica] yourself. Tony said so. Maybe you oughta take it up again. Maybe it'd stop you, trying to be so desperate about making more money than you can ever use. You can't take it with you, Mr. Kirby. So what good is it? As near as I can see, the only thing you can take with you is the love of your friends."

Why does the film start in the way that it does?
To establish the importance of Kirby, Sr.

Are there any repeated scenes, images, dialogue, etc.?
Every time Paul and Mr. DePinna set off a firework in the basement, a "Home, Sweet Home" sign falls down.

Are there any striking uses of perspective?
Sometimes we the antics of Alice's family through the eyes of others.

What specific scene constitutes the film's climax?
Kirby, Sr., visits Grandpa Vanderhof to ask for advice on how to mend his relationship with Tony, and the two play a harmonica duet together. Afterwards, Kirby, Sr., is ready to accept Alice as his daughter-in-law.

Does the film leave any disunities at the end?
No, the film cleverly wraps up the aftermath in the form of a pre-dinner grace.

Why does the film conclude on this particular image?
To emphasize the "big happy family" mood.


Theme:
How does this film relate to the issues presented or developed? What questions are evoked by the film? Does the film present a clear point of view on an issue? How?
The movie promotes individual thought, and doing what you enjoy, and having lots of friends instead of lots of money. The fun-loving nature of Alice's family is contrasted with the money-loving nature of Tony's family. Many characters believe that the former is improper, but in the end, it is the better one.


Mise en Scene:
Alice's family has their "quiet" evening at home.

Dominant: Where is our eye attracted first? Why?
For most viewers, probably Essie. She is in the middle and making the biggest motions.

Lighting key: High key? Low key? High contrast? Some combination of these?
High key in most places.

Shot and camera distance: What type of shot? How far away is the camera from the subject?
The camera, set up along one wall, barely manages to capture all of the action in the room.

Angle: Are we (and the camera) looking up or down on the subject? Or is the camera eye level?
Eye level.

Subsidiary contrasts: What are the main eye-stops after taking in the dominant?
We notice what everyone else is doing.

Density: How much visual information is packed into the image?
From left to right: Mr. DePinna poses as a Roman discus thrower while Penny paints him, Donald sets the table, Essie dances while Ed plays marimba and Mr. Kolenkhov keeps tempo, and Grandpa Vanderhof plays darts.

Composition: How is the two-dimensional space segmented and organized?
See above.

Framing: Tight or loose? Do the characters have no room to move around, or can they move freely without impediments?
Very tight. The most action to be captured in one shot out of perhaps any Capra movie.