Some lists of screwball comedies include this 1939 film that stars Claudette Colbert, Don Ameche and John Barrymore. I think it's a bit iffy for that category – it lacks the long strings of crazy antics that define the top comedies considered "screwball." But regardless, this is a gem of a movie and wonderful comedy. I agree with the other reviewers who note the scene-steeling of John Barrymore. He made only four more films after this one before his death. "Midnight" is his last very good or great film. Colbert and Ameche are excellent in their roles as Eve Peabody (aka, the Baroness Czerny) and Tibor Czerny. Mary Astor, Francis Lederer and Rex O'Malley give very good performances in their roles. But the interplay between Barrymore's Georges Flammarion and Colbert's Eve is the stuff that makes for great comedy. I purchased this film for my library and the DVD had a nice introduction that explained the considerable difficulty in the making of the film. It was mostly about conflicts among directors and writers and with some actors. I appreciate and enjoy these inside looks at movie making from time to time. The fact that Barrymore could no longer remember his lines and had to use cue cards makes one appreciate that much more the great talent of this actor in performing his roles. John Barrymore was known for his great ad-libbing in films – that enhanced his roles of all genres. Of all the stage and screen Barrymores, John is the only one who didn't win major awards. Siblings Lionel and Ethel each won Oscars. His personal life was chaotic and his four marriages each lasted no more than a few years. Drinking took its toll and he died at age 60 from cirrhosis of the liver and pneumonia. According to biographers, Barrymore had a conversion and reverted to his Catholic faith before he died. Barrymore appeared in 65 films. He began in the silent era and continued his fame in sound films. More than half of his films were with sound. He was equally at home in comedy, drama and mysteries. All of his sound films are a treat to watch. He has to be on any list of the best actors of all time.

The term, "a comedy of manners", is much abused by film and literary critics who often pin this label on bucolic slapstick like The Egg and I (1947) or mismatched romantic formulas like Misleading Lady (1932). The true comedy of manners, like The Philadelphia Story for instance, is set almost exclusively in high society where the foibles of the idle rich who have nothing better to do than play marital games, come under the microscope.As it happens, I'm not a great fan of the comedy of manners. The idle pursuits of the idle rich do not greatly interest me. But there are exceptions – like this movie and the aforesaid Philadelphia Story – where the formula is broadened to include major characters like James Stewart's reporter in P.S. or Don Ameche's cab-driver in Midnight.The latter film also has the advantage of Claudette Colbert's lead character who, like Miss Colbert's lead character in the 1942 Palm Beach Story, doesn't really belong – although she makes a good try (and this fish out of water element serves as the basis for most of the satire and comedy).Most fortunately too, Midnight has a fine supporting cast led by John Barrymore (at his scene-stealing best) and Mary Astor. And right up almost to the end of the movie when Leisen allows Monty Woolley to hog the camera and bring this fast-paced movie to a screeching halt, it's directed at an admirably rapid clip too! You really need to have your ears and eyes fully attuned and your mind clear as a bell to follow the many delightful twists and turns of the plot.

Dressed for success, penniless nightclub entertainer Claudette Colbert (as Eve Peabody) arrives in Paris. Looking for both employment and eligible men, Ms. Colbert finds her style cramped by a drenching rainstorm. To stay dry, she accepts a date with handsome taxi-driver Don Ameche (as Tibor Czerny). He invites Colbert to stay over; but, she is after finer digs, and ditches Mr. Ameche at a gas station.Next, Colbert crashes a socialite's party, where she meets wealthy John Barrymore (as George Flammarion). To win back the attentions of wife Mary Astor (as Helen), Mr. Barrymore hires Colbert to romance Ms. Astor's handsome French lover, Francis Lederer (as Jacques Picot). Meanwhile, Ameche summons his taxi-driving pals to find Colbert, with whom he has fallen in love… Wonderfully cast, with Colbert offering her by now typically delightful performance; like several of her other films, "Midnight" is much better than the more celebrated "Academy Award" winner. An obviously inebriated Barrymore is better than none. And, screenplay writers Charles Brackett and Billy Wilder seem to be warming up for "Ninotchka". Probably, this is director Mitchell Leisen's finest work.********* Midnight (3/15/39) Mitchell Leisen ~ Claudette Colbert, Don Ameche, John Barrymore, Mary Astor

Wilder and Brackett had one of their earliest successes as screenwriters in this delightful comedy about a broke woman pretending to be an heiress. Colbert excelled at this sort of light comedy and she is perfectly cast here. Ameche is fine as the cabbie who falls in love with her. However, Barrymore, with his arched eyebrows and bemused expression, steals the film as an eccentric millionaire. The scenes at his country estate are hilarious, particularly when he pretends to be Colbert's little son on the phone. Astor is wonderful as Barrymore's philandering wife. It is smoothly directed by Leisen, but it feels more like a Wilder film.