Ernst Lubitsch had a "touch." People in Hollywood still talk about it like it’s some kind of lost arcane magic, but honestly, it was just a brilliant mix of wit, timing, and knowing exactly who to put in front of the camera. When he made Heaven Can Wait in 1943, he wasn't just making a comedy about a guy trying to get into Hell; he was assembling a powerhouse ensemble. The Heaven Can Wait 1943 cast didn't just play characters; they lived through decades of fictional New York history on screen, making a sprawling 70-year timeline feel intimate and, weirdly enough, believable.
Most people today get this movie mixed up with the 1978 Warren Beatty film. Don't do that. That one is about football and reincarnation. This 1943 gem is a dry, cynical, yet warm-hearted look at Henry Van Cleve, a man who believes his life of mild philandering and luxury has earned him a one-way ticket to the basement. It’s a Technicolor dream, and the actors are the ones who keep it from floating off into pure fantasy.
Don Ameche and the Art of Growing Old
Don Ameche plays Henry Van Cleve. It’s a massive role. He has to carry the movie from a spoiled, mischievous youth all the way to a withered man of 70. Ameche was 35 at the time. You’ve probably seen younger actors struggle with "old person" makeup today, but Ameche pulls it off with his voice and his posture. He doesn't just put on a wig; he slows down his cadence. He makes the vanity of the character feel tragic and hilarious at the same time.
Ameche wasn't the first choice. Studio heads often looked at names like Fredric March or Rex Harrison for this kind of suave, European-style wit. But Ameche brought something different—a certain American earnestness that made Henry’s "sins" seem more like misunderstandings. He’s charming. You want him to get away with it. That’s the Lubitsch touch in action: making a man who admits to being a lifelong nuisance seem like the most delightful person in the room.
Gene Tierney: More Than Just a Pretty Face
Then there’s Gene Tierney. Look, she was famously beautiful. Everyone knows that. But in the Heaven Can Wait 1943 cast, she serves as the emotional anchor. As Martha, the woman Henry elopes with, she has to navigate a marriage that spans decades of his nonsense. Tierney often gets pigeonholed for her "icy" roles like Laura, but here, she’s warm. She’s funny.
She had this way of looking at Ameche that sold the entire romance. If Martha didn't love Henry, the movie would be a story about a jerk. Because Tierney makes us believe she sees something worthwhile in him, the audience goes along for the ride. Her chemistry with Ameche is the reason the middle act of the film—the "Kansas City" years—works so well. It’s a grounded performance in a movie that features a literal devil.
The Supporting Players Who Stole the Show
You can't talk about this cast without mentioning Charles Coburn. He plays Hugo Van Cleve, Henry’s grandfather. Honestly? He’s the best part of the movie. Coburn was a master of the "crusty old man with a heart of gold" trope, but here he plays it with a rebellious streak. He’s the one who encourages Henry’s mischief because he’s bored with his own stuffy, Victorian family.
- Laird Cregar plays "His Excellency" (the Devil). He’s not a scary Devil. He’s a middle-manager. He’s tired. He’s got a job to do. Cregar brings this incredible, silky sophistication to the role that makes the "Hell" scenes feel like a high-end gentlemen's club.
- Marjorie Main and Eugene Pallette play Martha’s parents. They are the absolute antithesis of the New York Van Cleves. They represent the "meat and potatoes" of Kansas, and their bickering is legendary. Pallette’s voice—that deep, gravelly frog-croak—is an instant laugh-getter.
- Spring Byington and Louis Calhern round out the Van Cleve household as Henry’s parents. They play the "uptight" role perfectly, giving Henry and Grandpa Hugo something to rebel against.
Why the Casting Worked for 1943 Audiences
World War II was raging when this came out. People weren't looking for gritty realism; they wanted escapism, but they wanted it to feel "smart." The Heaven Can Wait 1943 cast delivered a world where the biggest problems were family squabbles and whether or not a person was "naughty" enough for the afterlife. It was a sophisticated distraction.
The film was nominated for three Academy Awards, including Best Picture and Best Director. While it didn't win, the legacy of the performances remained. It’s one of those rare films where the casting feels inevitable. You can't imagine anyone else as the bickering Strables or the suave, slightly depressed Devil.
The Technical Magic Behind the Actors
Technicolor in 1943 was a beast. It required immense amounts of light, which meant the sets were incredibly hot. Actors had to stay perfectly in character while sweating under massive lamps. Gene Tierney’s complexion and those striking green eyes were practically made for the three-strip Technicolor process. The cinematography by Edward Cronjager (who was nominated for an Oscar for this film) worked in tandem with the cast’s physical presence to create a visual texture that feels like a moving painting.
The costumes by René Hubert also did a lot of the heavy lifting. As the cast "aged," their wardrobe shifted from the flashy silks of the 1890s to the more subdued wools of the 1940s. This visual progression helped the actors maintain the illusion of passing time without relying solely on latex and greasepaint.
A Legacy of Nuance
What most people get wrong about this movie is thinking it's a "moral" tale. It really isn't. It’s a movie about a man who lived a privileged, somewhat selfish life and realized, right at the end, that the only thing that actually mattered was the woman who put up with him. The cast had to play that nuance. If Ameche played Henry too darkly, we’d hate him. If Tierney played Martha too weakly, we’d pity her. Instead, they played it like a dance.
Even the minor roles, like Signe Hasso as the French maid or Allyn Joslyn as the "perfect" cousin Albert, add layers to the social satire Lubitsch was aiming for. They represent the archetypes that Henry is constantly trying to escape. Albert is the man Henry should have been—responsible, dull, and entirely forgettable. Henry is the man he is—flawed, exciting, and ultimately redeemed by love.
How to Appreciate the Film Today
If you’re going to watch Heaven Can Wait (1943) for the first time, pay attention to the doors. Lubitsch loved doors. Characters are constantly walking through them, eavesdropping behind them, or being shut out by them. The cast uses the physical space of the set to communicate power dynamics that the dialogue only hints at.
Also, watch for the subtle changes in Don Ameche’s walk. In the early scenes, he bounces. He’s full of kinetic energy. By the time he’s facing the Devil in the final act, he moves with a heavy, deliberate grace. It’s a masterclass in physical acting that often gets overlooked because the dialogue is so snappy.
Key Takeaways for Film Buffs
- Watch for the "Lubitsch Touch": It’s in the casting as much as the directing. The actors understand the "wink" to the audience.
- Technicolor Brilliance: This is one of the best examples of early color film used to enhance the mood of the performances.
- Age Progression: Compare this to modern aging makeup. The 1943 version relies more on the actor’s craft than CGI or prosthetics.
- The Cregar Performance: Laird Cregar died tragically young (at 33, shortly after his next major film). His role as the Devil here is arguably his most refined work.
To truly understand why this film holds up, you have to look at it as a snapshot of a turning point in Hollywood. It was the end of the "screwball" era and the beginning of a more mature, slightly more cynical form of comedy. The Heaven Can Wait 1943 cast bridged that gap perfectly.
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Your Next Steps for Exploring Classic Cinema
If this cast impressed you, your next move should be to check out Gene Tierney in Leave Her to Heaven. It’s a total 180-degree turn from her role as Martha; she plays one of the most terrifying "femme fatales" in cinema history. It’s also in Technicolor and shows a completely different side of her range.
For those interested in Don Ameche beyond his 1940s heyday, jump forward to his "comeback" in the 1980s with Cocoon. You’ll see the same charm, but refined by decades of experience. It’s fascinating to see the actor who played an old man in 1943 actually become one on screen forty years later.
Finally, track down a copy of the Criterion Collection version of Heaven Can Wait. The restoration work on the Technicolor palette is vital for seeing the cast the way Lubitsch intended. You’ll notice details in the costume textures and the actors' expressions that are lost in lower-quality streams. Digging into the "special features" on these releases often reveals the chaotic behind-the-scenes stories of the Fox studio lot that explain why these specific actors were chosen for these specific roles.