| Cary Grant | ... | Mortimer Brewster | |
| Priscilla Lane | ... | Elaine Harper | |
| Raymond Massey | ... | Jonathan Brewster | |
| Jack Carson | ... | O'Hara | |
| Edward Everett Horton | ... | Mr. Witherspoon | |
| Peter Lorre | ... | Dr. Einstein | |
| James Gleason | ... | Lt. Rooney | |
| Josephine Hull | ... | Abby Brewster | |
| Jean Adair | ... | Martha Brewster | |
| John Alexander | ... | 'Teddy Roosevelt' Brewster | |
| Grant Mitchell | ... | Reverend Harper | |
| Edward McNamara | ... | Brophy | |
| Garry Owen | ... | Taxi Cab Driver | |
| John Ridgely | ... | Saunders | |
| Vaughan Glaser | ... | Judge Cullman | |
| Chester Clute | ... | Dr. Gilchrist | |
| Charles Lane | ... | Reporter | |
| Edward McWade | ... | Gibbs | |
| rest of cast listed alphabetically: | |||
| Spencer Charters | ... | Marriage License Clerk (uncredited) | |
| Sol Gorss | ... | New York Pitcher (uncredited) | |
| Herbert Gunn | ... | Undetermined Supporting Role (uncredited) | |
| Roland Jones | ... | Undetermined Supporting Role (uncredited) | |
| Hank Mann | ... | Photographer at Marriage License Office (uncredited) | |
| Spec O'Donnell | ... | Young Man in Line (uncredited) | |
| Lee Phelps | ... | Umpire (uncredited) | |
| Don Phillips | ... | Undetermined Supporting Role (uncredited) | |
| Leo White | ... | Man in Phone Booth (uncredited) | |
| Jean Wong | ... | Young Woman in Line (uncredited) | |
Directed by | |||
| Frank Capra | |||
Writing credits | ||
| Julius J. Epstein | (screenplay) (as Julius J.) and | |
| Philip G. Epstein | (screenplay) | |
| Joseph Kesselring | (play) | |
Produced by | |||
| Jack L. Warner | .... | executive producer | |
| Frank Capra | .... | associate producer (uncredited) | |
Original Music by | |||
| Max Steiner | (music by) | ||
Cinematography by | |||
| Sol Polito | (director of photography) | ||
Film Editing by | |||
| Daniel Mandell | |||
Art Direction by | |||
| Max Parker | |||
Costume Design by | |||
| Orry-Kelly | (gowns) | ||
Makeup Department | |||
| Perc Westmore | .... | makeup artist | |
| George Bau | .... | makeup artist (uncredited) | |
| Anita De Beltrand | .... | hair stylist (uncredited) | |
| John Wallace | .... | makeup man (uncredited) | |
Production Management | |||
| Eric Stacey | .... | unit manager (uncredited) | |
| Steve Trilling | .... | production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Claude Archer | .... | second assistant director (uncredited) | |
| Russell Saunders | .... | assistant director (uncredited) | |
Art Department | |||
| Lou Hafley | .... | props (uncredited) | |
| Keefe Maley | .... | second propman (uncredited) | |
| Al Williams | .... | assistant propman (uncredited) | |
| Levi C. Williams | .... | assistant propman (uncredited) | |
Sound Department | |||
| C.A. Riggs | .... | sound | |
| Everett A. Brown | .... | mixer (uncredited) | |
Special Effects by | |||
| Robert Burks | .... | special effects | |
| Byron Haskin | .... | special effects | |
Camera and Electrical Department | |||
| Wesley Anderson | .... | second camera (uncredited) | |
| Joe Cramer | .... | best boy (uncredited) | |
| Frank Evans | .... | assistant camera (uncredited) | |
| Mickey Marigold | .... | still photographer (uncredited) | |
| Harold Noyes | .... | grip (uncredited) | |
| Charles O'Bannon | .... | gaffer (uncredited) | |
Costume and Wardrobe Department | |||
| Cora Lobb | .... | wardrobe (uncredited) | |
| Leon Roberts | .... | wardrobe (uncredited) | |
Music Department | |||
| Leo F. Forbstein | .... | musical director | |
| Hugo Friedhofer | .... | orchestral arrangements | |
Other crew | |||
| Russel Crouse | .... | producer: stage play | |
| Howard Lindsay | .... | producer: stage play | |
| Harold Winston | .... | dialogue director | |
| Bob Fender | .... | unit publicist (uncredited) | |
| Dr. Herman Lissauer | .... | researcher (uncredited) | |
| Mal Merrihugh | .... | stand-in: Cary Grant (uncredited) | |
| Wandra Ramsey | .... | script clerk (uncredited) | |
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| Arsenik og gamle kniplinger | Arsenic and Old Lace | The Night of the Hunter | Strangers on a Train | Psycho |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb top 250 movies | IMDb Comedy section |
| IMDb USA section | Add this title to MyMovies |
A presumably sane young drama critic (Cary Grant) visits the home of his two elderly aunts. Upon arrival, he finds that his two dear, sweet, lovable aunts have embarked on what they see as their mission of mercy ... killing lonely old men, by giving them arsenic-laced wine. Our sane young drama critic soon learns that insanity runs in the family.
Five years ago, the American Film Institute selected America's 100 funniest movies. "Arsenic And Old Lace" (1944) came in at Number 30. And that's not surprising. A lot of people enjoy this dark, screwball comedy, with its slapstick, its fast pace, its sharp dialogue, and its engaging characters. A lot of viewers like it simply because of Cary Grant.
The film's underlying premise is really great. And I must confess that Aunt Abby (Josephine Hull) and Aunt Martha (Jean Adair) are cute and entertaining. (Interestingly, the film portrays them as usually together and almost always in agreement with each other. It's like they function as a single entity). And the other denizen of the house, Uncle Teddy (John Alexander) is also a hoot.
But I'm not a big fan of Cary Grant. His performance here is exaggerated. His hyper and jerky behavior is distracting and grating. The plot gets ever sillier as it moves along, and downright tedious toward the end. Lastly, I have never cared much for films that are so top heavy with dialogue.
The best part of the film is the cinematography. Most of the scenes take place in a big living room, at times with lights out. The B&W lighting is very stark with high contrast, which renders a suitably sinister atmosphere.
"Arsenic ..." is not my cup of tea. But, for viewers who like talky stage plays with an accent on macabre humor, this film is a fine choice. Could I interest you in a glass of elderberry wine, perhaps?