My Man Godfrey (1936)

Overview

My Man Godfrey is a sparkling comedy of manners wrapped around a biting social critique. Released at the height of the Great Depression, it uses the zany tropes of screwball comedy to explore class disparity, human dignity, and the fine line between wealth and madness.

Starring the incomparable William Powell and the effervescent Carole Lombard, the film is a brisk, witty, and surprisingly subversive gem — one that’s as socially conscious as it is effortlessly funny. Directed by Gregory La Cava, it’s a masterclass in tonal balance, combining slapstick humour with poignant commentary.

Plot Summary

The film opens at a garbage dump by the East River in New York City, where the down-and-out Godfrey "Smith" Parke (William Powell) is living among other “forgotten men.” Enter Irene Bullock (Carole Lombard), a scatter-brained but good-hearted heiress, who arrives with her sister Cornelia (Gail Patrick) as part of a high-society scavenger hunt. One of the items: “a forgotten man.”

Godfrey, offended by Cornelia’s condescension, agrees to accompany Irene — largely to humiliate her sister — and ends up at the Waldorf Ritz Hotel as the pièce de résistance of the evening’s ridiculous competition. But when Irene impulsively offers Godfrey a job as the family butler, he accepts.

What follows is a sharp and chaotic culture clash: Godfrey, dignified and calm, tries to maintain his sanity amid the unhinged, decadent Bullock household — including Irene’s childish infatuation with him, Cornelia’s venomous jealousy, their daffy mother (Alice Brady), a mooching “protege” named Carlo (Mischa Auer), and their beleaguered father (Eugene Pallette), who is trying to keep their finances from collapsing.

As the story unfolds, it becomes clear that Godfrey has a mysterious past and that this absurd journey may lead not just to the transformation of the Bullock family, but to his own redemption.

Themes and Social Commentary

Class and the “Forgotten Man”

At its core, My Man Godfrey is a Depression-era fable. The “forgotten man” was a term used at the time for the unemployed, homeless, and displaced — casualties of economic collapse. By placing Godfrey, a well-spoken, articulate figure, among this group, the film immediately challenges the audience’s assumptions about poverty and worth.

The Bullocks, by contrast, represent the frivolous, oblivious elite. They live in absurd luxury, ignorant of the suffering just across town. The film cleverly uses comedy to satirize this divide — Godfrey doesn’t moralize, but the contrast is clear: dignity is not reserved for the rich.

Identity and Redemption

Godfrey's arc — from a "forgotten man" to someone who reclaims his identity and helps others — is a subtle narrative of rebirth. His secret past (which is revealed late in the film) frames his fall as voluntary, a form of penance and escape. But in helping the Bullocks and his fellow men, he rediscovers purpose and self-worth.

The final twist — that Godfrey is actually a wealthy scion of a prominent family — flips the entire premise. Instead of diminishing his moral authority, it enriches it. He chooses compassion over privilege, and the film presents that choice as heroic.

Madness vs. Sanity

One of the ongoing gags of the film is that the supposedly "crazy" poor man is the only sane one in a house full of lunatics. The Bullocks are hilarious caricatures of the rich: neurotic, impulsive, irrational, and emotionally immature. In contrast, Godfrey is serene, grounded, and rational — an inversion of how society typically labels “madness.”

Performances

William Powell as Godfrey

Powell gives a masterclass in elegant restraint. His performance is rich with dry wit, quiet exasperation, and a weary nobility. Powell’s Godfrey is not a man looking for sympathy but someone trying to remain dignified in an undignified world.

Powell’s ability to play the straight man to a house full of eccentrics while imbuing his character with emotional depth elevates the entire film. He’s both romantic hero and social philosopher, cloaked in butler’s attire.

Carole Lombard as Irene Bullock

Lombard is incandescent as Irene, a ditzy socialite with a heart of gold. Her comedic timing is exquisite, whether she's fainting dramatically or confessing her love in the most inappropriate circumstances. But beneath the madcap exterior is genuine warmth.

Her performance captures the screwball heroine archetype at its most lovable: impulsive, romantic, and completely unpredictable. Lombard was nominated for an Oscar for her role, and deservedly so.

Supporting Cast

Alice Brady as Mrs. Bullock is hysterically loopy — the quintessential daffy matron with no filter.

Eugene Pallette brings gravel-voiced exasperation as the patriarch trying to hold the family together.

Gail Patrick plays the venomous Cornelia with icy elegance, offering a great contrast to Lombard's sunshine.

Mischa Auer is hilarious as Carlo, the opportunistic mooch whose artistic pretensions are a running gag.

Direction and Script

Gregory La Cava, who came from an animation background and had a deep understanding of rhythm and timing, orchestrates the film like a farcical symphony. Every scene is paced to perfection — with madcap moments playing against calm interludes, and physical comedy balanced by snappy dialogue.

The screenplay, adapted by Morrie Ryskind and Eric Hatch (from Hatch’s novel), is layered with double meanings, zingers, and social subtext. It's a marvel of tone — seamlessly blending satire, slapstick, and sentiment.

Visuals and Style

Shot in elegant black and white, the film’s cinematography by Ted Tetzlaff captures the opulence of the Bullock mansion with a light, polished touch. Art deco interiors and opulent costuming reinforce the fantasy of wealth, contrasting powerfully with the film’s opening scenes at the dump.

Though primarily a performance-driven film, My Man Godfrey is visually sophisticated — with clever blocking and camera movement that underscore comedic beats without ever being obtrusive.

Legacy and Impact

My Man Godfrey was a critical and commercial success in its day and made history as the first film to receive Oscar nominations in all four acting categories (plus Best Director and Best Screenplay). Though it won none, its influence is undeniable.

It helped cement the template for screwball comedies: mismatched lovers, role reversals, class commentary, and zany families. It also stands out as one of the few Depression-era films that directly acknowledged poverty and economic inequality — while still managing to be wildly entertaining.

The film remains a favourite among classic film aficionados and has been preserved in the National Film Registry for its cultural and historical significance.

My Man Godfrey is a nearly perfect example of what Golden Age Hollywood could achieve — mixing glittering comedy with piercing social insight. It’s fast, funny, and ferociously intelligent, anchored by two of the era’s most charismatic stars in Powell and Lombard.

It remains as relevant today as ever: a reminder that dignity, compassion, and decency are not the property of the privileged — and that laughter can still be the best tool for confronting injustice.

Whether you come for the comedy or the class commentary, you’ll leave enchanted.