The Man Who Came to Dinner (1941)
“NOTHING COULD BE FUNNIER!”
An acerbic critic wreaks havoc when a hip injury forces him to move in indefinitely with a Midwestern family.
The film establishes its central universe, introducing the protagonists into an escalating conflict. Directed by William Keighley, this opening movement establishes high visual and thematic stakes that set the narrative journey into motion.
The protagonists navigate escalating complications, ethical dilemmas, and formidable challenges. Starring Bette Davis, Ann Sheridan, Monty Woolley, the middle act intensifies dramatic momentum toward an inevitable turning point.
The dramatic arcs converge in a decisive climax, resolving interpersonal conflicts and delivering the auteur’s resonant thematic conclusion.
Bette Davis
as Maggie Cutler
Ann Sheridan
as Lorraine Sheldon
Monty Woolley
as Sheridan Whiteside
Richard Travis
as Bert Jefferson
Jimmy Durante
as Banjo
Billie Burke
as Daisy Stanley
Reginald Gardiner
as Beverly Carlton
Elisabeth Fraser
as June Stanley
Grant Mitchell
as Ernest W. Stanley
George Barbier
as Dr. Bradley
Mary Wickes
as Miss Preen
Russell Arms
as Richard StanleyCinematographic negative, aspect ratios & laboratory mastering sheet
| Aspect Ratios | 2.39:1 |
|---|---|
| Camera Systems | Arri Alexa LF / Panavision Millennium DXL2 |
| Negative Format | 35mm / 65mm / Digital Master |
| Printed Film Format | 70mm / DCP Master |
| Sound Mix Formats | Dolby AtmosDTS:X5.1 Surround |
| Laboratory / VFX | Technicolor / Double Negative (DNEG) |
| Color Processing | Color (Rec.709 / DCI-P3 Mastering) |
| Official Runtime | 112 min |
Pure cinematic metadata encyclopedia with zero hosted video. Official verified distribution channels:
This title may currently be in theatrical window, physical media release, or restricted by regional licenses. Switch to another territory:
Weighted consensus from 100K+ verified global cinephile ratings
The pipe organ composition from Hans Zimmer at the edge of Gargantua is monumental. Nolan masterfully balances the vast coldness of relativistic astrophysics with the intimate, multidimensional bond of family. A transcendent achievement of cinema.
"Do not go gentle into that good night, Rage, rage against the dying of the light." Michael Caine reciting Dylan Thomas resonates throughout the entire odyssey. Pure cinematic grandeur.
