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The Happiest Millionaire

The Happiest Millionaire

Comedy · Drama · Family · 1967

A happy and unbelievably lucky young Irish immigrant, John Lawless, lands a job as the butler of an unconventional millionaire, Biddle. His daughter, Cordelia Drexel Biddle, tires of the unusual antics of her father--especially since the nice young men around town all fear him. Wouldn't you fear a father-in-law that keeps alligators for pets and teaches boxing at his daily Bible classes?

Movie details

The Happiest Millionaire

“It's the happiest musical of the year!”

1967 Comedy · Drama · Family 2h 49m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

A happy and unbelievably lucky young Irish immigrant, John Lawless, lands a job as the butler of an unconventional millionaire, Biddle. His daughter, Cordelia Drexel Biddle, tires of the unusual antics of her father--especially since the nice young men around town all fear him. Wouldn't you fear a father-in-law that keeps alligators for pets and teaches boxing at his daily Bible classes?

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Happiest Millionaire?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Norman Tokar

Written by

AJ Carothers

Fred MacMurray

Fred MacMurray

Anthony Biddle

Greer Garson

Greer Garson

Cordelia Biddle

Gladys Cooper

Gladys Cooper

Aunt Mary

Geraldine Page

Geraldine Page

Mrs. Duke

Tommy Steele

Tommy Steele

John Lawless

Hermione Baddeley

Hermione Baddeley

Mrs. Worth

John Davidson

John Davidson

Angie

Court is in session

Put The Happiest Millionaire on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.