The tag line is "The World's Richest Playboy", Arthur Bach (Moore), is a dipsomaniacal millionaire in NYC, who squanders money on drinks and female companions at the drop of a hat, only his dissolute bachelor days are numbered because he is arranged to walk down the isle with Susan Johnson (Eikenberry), a girl from a well-minted family but he doesn't love, otherwise he will be cut off from his gazillion inheritance, and just at that crunch, he meets the girl of his dream, Linda Marolla (Minnelli), a waitress from Queens, and the rest of the story is not difficult to conjecture, it is a choice between love and money, if Arthur has to relinquish one, what will he choose? ARTHUR is director/writer Steve Gordon's only feature film, who prematurely died of a heart attack in 1982, it is a box office sensation and also incredibly, a victorious Oscar contender, broad comedies embraced by the academy has become more and more like gold dust as time goes by, Sir John Gielgud, won an Oscar for his prudent, sophisticated impersonation of Hobson, Arthur's devout butler and indeed, a father figure to him, whose mordant elocution and snobbish/avuncular poise is the perfect antidote of Arthur's excessive jests when he is plastered, also his bowing out denouement tactfully renders the film its well-earned moment of poignancy. Another Oscar is awarded to its theme song, BEST THAT YOU CAN DO, a timeless ear-worm penned by Burt Bacharach and co. and performed by a clear-voiced belter Christopher Cross. Dudley Moore, reaps his sole Oscar nomination with this unrivalled comedy tour-de-force (graced with his accomplished piano bravura), it is really at a premium that a comedian can tips the emotional scale of his viewers apropos of a character that initially smacks of crudeness, intemperance and gaucheness. A pint-size dynamo, Mr. Moore injects an honest-t0-goodness likability once we knows Arthur better, he is a none-too-objectionable man-child and devoid of any wiles awash in the adult society, cocooned in his money-gilded bubble since his birth, but eventually he braves himself to face an impending sea change when he falls in love for the very first time, and Arthur's transmogrification doesn't, as one might habitually dread, comes off as overly mawkish or unduly therapeutic, there is a bracing message in this tall-tale: Arthur doesn't have to better himself to get the girl, instead, he is still the old self when the film reaches its coda, his drinking problem is hard to peter away, so is his compulsive joke-cracking under the influence one might surmise, the only thing has changed is that he experiences love and loss, and is not afraid of getting out of his comfort zone (although the ending lets rip a knowing whiff of jubilation, actually you can have your cake and eat it too!), and lucky enough to find someone who can reciprocate his feelings because who he is, not what he is bestowed (here I mean Linda, not Hobson).On the petticoat front, Ms. Minnelli's puckish moxie is a good match of Arthur's benign wackiness, and Irish veteran Geraldine Fitzgerald evidently have a field day as Arthur's savvy grandmother Martha, everyone must behave on her say-so. By and large, it is a nicely surprising finding that this ostensibly crass comedy actually has wits in the hearts of its hackneyed story and perkily runs rings around most of its contemporaneous light entertainment from an infertile industry.

There are depressed drunks, there are pugnacious drunks, and there are funny drunks. Arthur falls into the last category, and boy does he know it. He is constantly cracking himself up. That could be an annoying trait, but Arthur is just so darn lovable.Arthur is played brilliantly by Dudley Moore. When I read about the other actors who were considered for the role, I nearly cringe, because Moore is the definitive Arthur. And John Gielgud is the definitive Hobson, Arthur's man's man. As the somber Hobson, Gielgud gets to deliver some of the film's best one-liners, lines that I have quoted for years. Hobson is Arthur's dresser, maid, father figure, conscience, day planner and all-around assistant. He is a reminder to Arthur that he should be more responsible. They have developed a relationship that, on the surface, seems to be no more than the scolding parent and the disobedient child. But there is something deeper there.Arthur is a likable guy and he only wants to be happy. Is he willing to trade some of his happiness for financial considerations? It is a question that Arthur must face and when he does, he learns about himself.The film also includes some great songs that were voiced by the then unknown Christopher Cross.Like the film "What About Bob", the comedy in "Arthur" revolves around a character with issues, but he is a lovable character and the film allows us to laugh with him, not just at him.

A 40 something alcoholic playboy with sense of responsibility or ambition who has had everything he has ever had handed to him on a platter finally gets an ultimatum from his family by way of an arranged marriage.He must marry this woman or lose a hefty inheritance.He proposes,though he has no true feelings for the woman.He then meets and falls in love with another woman,thereby complicating his life.I like the story and it was well played out and very humorous.Dudley Moore's laughter as the title character was particularly infectious,although alcoholism isn't something I would normally find funny.Liza Minnelli and John Gielgud were great in their support.All told,a good film.

Listen up folks..... If you didn't see this movie in 1981 when you were between the ages of 18 and 25-ish you just won't get it. This is a classic comedy film which at the time was seen multiple times by fans, where dialog lines were repeated amongst friends over and over again. And the song, albeit corny now, worked perfectly in 1981 when Chris Cross- type music was the other norm, after the hair bands of course. It's a sweet, funny fairytale with a sad element involved watching Arthur live loud & inappropriately thru the over indulgence of alcohol. Sad state of affairs even today for some of the unhappy rich. I just watched it again tonight having not seen it in a dozen years or more. I laughed throughout. Dudley Moore was at his comedic best. But John Gielgud steals the show with his lines, said dryly as a proper butler would, but hysterical! He won the Academy Award for his role. This was also one of Liza Minnelli's finest moments. Sad, all but 2 of the main characters are dead today. All the more reason to see this movie for the first time or again. Add it to your library of "Films that Left an Impact on a Generation." And watch it with 1981 eyes, even if you were just a twinkle in your mom's eyes at that time! PS> the 2011 version is NOTHING like the original and it's a disgrace to this film and the memory of all involved that this hack-job of a film even carried the same title.