Critic Consensus: No consensus yet.
By 1937, producer Hal Roach was hoping to wean himself away from the Laurel & Hardy-Our Gang slapstick on which he had built his studio's reputation by delving into the "screwball comedy" genre. Roach selected the racy Thorne Smith fantasy novel Topper for adaptation, and the result was one of the most endearingly funny films of the decade. Constance Bennett and Cary Grant play Marion and George Kerby, a wealthy, freewheeling young married couple whose uninhibited lifestyle is the talk of the town. After a particularly bibulous evening on the town, the Kerbys race homeward in their gleaming new roadster. George fails to negotiate a curve, and the car plows into a tree, killing both its occupants. Seconds later, the ghosts of George and Marion emerge from the wreckage, behaving as frivolously as if nothing had happened. Upon realizing that they're dead, the Kerbys also realize that they haven't been immediately snatched up into Heaven. Determining that they're required to perform one good deed before being allowed past the Pearly Gates, George and Marion set about to "liberate" stuffy, sedate, henpecked banker Cosmo Topper (Roland Young). At first resistant to the charms of his invisible benefactors, Topper begins to loosen up and truly enjoy life for the first time. Naturally, this doesn't sit well with Topper's supercilious wife (Billie Burke) nor his long-suffering butler (Alan Mobray), especially during a climactic free-for-all at a vacation resort. Though special effects abound in Topper, most of the humor derives from the embarrassed reactions of Roland Young as he tries to fend off the flirtatious advances of the ghostly Marion and the benignly strongman tactics of the spectral George. Adding to the fun are Eugene Pallette as a flustered house detective and Arthur Lake as a pratfalling bellboy. The musical score by longtime Hal Roach composer Marvin Hatley is perfectly attuned to the zany goings-on (including snatches of background music from Roach's earlier Laurel and Hardy comedies), while Hoagy Carmichael appears briefly on screen to introduce the film's signature tune, "Old Man Moon." Topper proved successful enough to warrant two sequels, as well as a popular TV series of the early 1950s. … More
as Marion Kerby
as George Kerby
as Cosmo Topper
as Henrietta Topper
as Elevator Boy
as Mrs. Stuyvesant
as Miss Johnson
as Hotel Manager
as Hat Check Girl at Ra...
as Bill, the Piano Play...
as Hotel clerk
as Car mechanic/salesma...
as Lounge singer
News & Interviews for Topper
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Critic Reviews for Topper
Cary Grant and Constance Bennett, as the reincarnated Kerbys, do their assignments with great skill.
Too gentle and leisurely to survive as a solid classic, though there's pleasure to be found in the cast's graceful way with comedy and their smooth ensemble playing.
Cary Grant and Constance Bennett are Thorne Smith's continental ghosts, haranguing tired businessman Roland Young in arch screwball style.
Boasting strong performances from Cary Grant and Constance Bennett, this sophisticated screwball comedy was so popular that it led to two sequels (without Grant).
Audience Reviews for Topper
Topper, a serious minded, by-the-book sort of fellow, is in danger of being trapped in the monotony of complacency when two freewheeling buds decide to loosen him up just a little. Nothing too serious, mind you, except for ... oh, but they're dead. They're ghosts.
By modern standards its hard to tell the difference much between the monotony of complacency and freewheeling depicted here, but still a grand time is had by all in this, the film that solidified Cary Grant as major star material. But this is a team effort, everyone onscreen contributing to the smiles that follow.
I liked this movie, not just because I love Grant, but it's a very funny movie. It has a great story, uses old special effects, and has great actors. What more could you want?
What a hilarious movie. Bennett and Grant have great chemistry. Young is hysterical. A wonderfully charming film.
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