The Amazing Quest of Ernest Bliss
The Amazing Quest of Ernest Bliss is a 1936 British romantic comedy film directed by Alfred Zeisler featuring Cary Grant in the lead role. This production serves as a remake of the 1920 movie The Amazing Quest of Mr. Ernest Bliss, which itself was adapted from the 1919 novel The Curious Quest by E. Phillips Oppenheim.
When released in the United States in 1937, the film was retitled The Amazing Adventure, and subsequently known as Romance and Riches. Its runtime was shortened from the original 80 minutes (UK version) to 62 minutes for the American market. Most existing prints are based on this US cut, although the British Film Institute retains several archival copies running approximately 77 minutes. The film now resides in the public domain, leading to numerous low-budget VHS and DVD editions. Since it is a non-US production that had no copyright protection in its country of origin as of 1996, it did not qualify for GATT safeguards.
Plot
In London, Ernest Bliss (Cary Grant), a wealthy socialite, experiences a deep sense of dissatisfaction. After consulting a physician, he is told his condition stems from having "too much money" and is advised to live on a modest income for one year. Offended by this suggestion, Bliss wagers £50,000 that he can sustain himself solely through earned income during that period.
He takes up residence in an attic located in Stepney Green but faces financial difficulties. After weeks of unsuccessfully attempting to sell Alpha stoves, Bliss discovers the company is on the verge of bankruptcy. Investing £500 from his own funds—without touching his inheritance—he initiates a promotion offering free meals cooked on the stoves, which draws the attention of a wholesale purchaser interested in substantial orders. Though Mr. Masters offers him a partnership, Bliss chooses to resign instead.
Bliss begins courting Frances Clayton (Mary Brian), who serves as Mr. Masters' secretary and also contemplates leaving following an offer of a "matrimonial partnership." Later, Bliss assists Dr. Aldroyd by driving him during an emergency, marking seven months into their wager.
A man named Dorrington attempts to forge Bliss's signature to cash a £30,000 cheque but fails when Bliss reveals himself and fends off Dorrington's henchman with assistance from his devoted valet Clowes.
Frances accepts employment with Mr. Montague, who behaves inappropriately toward her. Bliss intervenes by sabotaging Montague’s car and exposing his misconduct. After being dismissed, Bliss purchases the company to reinstate Bill Bronson, the mechanic who had stood up for him.
Bliss proposes marriage to Frances; however, her sister requires expensive medical treatment in Switzerland. Frances considers marrying Masters for financial support but relocates without informing Bliss. He eventually finds her, resolves the difficulties, and they marry.
Cast
- Cary Grant as Ernest Bliss
- Mary Brian as Frances Clayton
- Peter Gawthorne as Sir James Alroyd
- Henry Kendall as Lord Honiton
- Leon M. Lion as Dorrington
- John Turnbull as Masters
- Arthur Hardy as Crawley
- Iris Ashley as Clare
- Garry Marsh as The Buyer
- Andreas Malandrinos as Giuseppi
- Alfred Wellesley as Montague
- Marie Wright as Mrs. Heath
- Buena Bent as Mrs. Mott
- Charles Farrell as Scales
- Quinton McPherson as Clowes (credited as Quinton MacPherson)
- Hal Gordon as Bill Bronson
Critical reception
Variety characterized the movie as somewhat dated and possibly unconvincing for modern viewers, pointing out that although the direction and performances were strong, the film needed extensive editing prior to its release. Cary Grant received acclaim for his natural and adept portrayal, whereas Mary Brian’s performance was considered overly severe for her character. The rest of the cast delivered satisfactory performances, and the production quality was praised.
In British Popular Films 1929-1939: The Cinema of Reassurance, Stephen Shafer emphasizes the film’s deliberate resonance with working-class audiences by emphasizing values such as diligence, generosity, and selflessness. He notes that the lead character’s fulfillment arises from meaningful relationships rather than financial success, imparting a message that everyday viewers should find joy in simple pleasures often beyond the reach of the affluent.