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    Arsenic and old lace

    • Year Released: 1944
    Arsenic and Old Lace is a 1944 film directed by Frank Capra based on Joseph Kesselring's play of the same name. The script adaptation was by twins Julius J. Epstein and Philip G. Epstein. Capra actually filmed the movie in 1941, but it was not released until 1944, after the original stage version had finished its run on Broadway. The lead role of Mortimer Brewster was originally intended for Bob Hope, but he couldn't be released from his contract with Paramount. Capra had also approached Jack Benny and Ronald Reagan before going with Cary Grant. Boris Karloff played Jonathan Brewster, who "looks like Karloff", on the Broadway stage, but he was unable to do the movie as well because he was still appearing in the play during filming, and Raymond Massey took his place. In addition to Grant as Mortimer Brewster, the film also starred Josephine Hull and Jean Adair as the Brewster sisters, Abby and Martha, respectively. Hull and Adair as well as John Alexander (who played Teddy Roosevelt) were reprising their roles from the 1941 stage production. Hull and Adair both received an eight-week leave of absence from the stage production that was still running, but Karloff did not as he was an
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    Harvey

    Harvey

    • Year Released: 1950
    Harvey is a 1950 film based on Mary Chase's play of the same name, directed by Henry Koster, and starring James Stewart and Josephine Hull. The story is about a man whose best friend is a pooka named Harvey—in the form of a six-foot, three-and-one-half-inch tall invisible rabbit. Elwood P. Dowd (Stewart) is a middle-aged, amiable (and somewhat eccentric) individual whose best friend is an invisible 6' 3.5" tall rabbit named Harvey. As described by Dowd, Harvey is a pooka, a benign but mischievous creature from Celtic mythology who is especially fond of social outcasts (like Elwood). Elwood has driven his sister and niece (who live with him and crave normality and a place in "society") to distraction by introducing everyone he meets to his friend, Harvey. His family seems to be unsure whether Dowd's obsession with Harvey is a product of his (admitted) propensity to drink or perhaps mental illness. Elwood spends most of his time in the local bar, and throughout the film invites new acquaintances to join him for a drink (or to his house for dinner). Interestingly, the barman and all regulars accept the existence of Harvey, and the barman asks how they both are and unflinchingly
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