Film
You Can't Take It with You
Frank Capra's Depression-era comedy about the Sycamores, a household of gleeful oddballs—ballet dropouts, firework makers, a printing press in the basement—who upend the stiff, wealthy family their daughter wants to marry into. It's broad, sentimental, and unabashedly preachy about money versus joy, but Jean Arthur and James Stewart give it real warmth. Comfort viewing for anyone who wants a message with their laughs.
If you liked this
It Happened One Night1934
Capra's earlier screwball triumph: a runaway heiress and a cynical reporter bicker their way across America and into love. It's the blueprint for practically every romantic comedy that followed, and it still zips.
But Some of the early gags feel dated, and the pace is gentler than modern rom-coms.

Mr. Smith Goes to Washington1939
Same director, same star, same faith that decency beats cynicism—only here it's politics, not marriage, and Stewart's filibuster is one of cinema's great underdog moments.
But The idealism can feel a little naive, even exhausting, depending on your mood toward institutions.

My Man Godfrey1936
Another screwball comedy about a chaotic wealthy family and the outsider who quietly upends their household. It's funnier and sharper-elbowed than Capra's version, with just as much heart underneath.
But The class satire bites harder and cozier optimism is in shorter supply.

The wildcard
Something you would not have found on your own.
Modern Times1936
Same Depression-era conviction that dignity and joy outrank money or machinery—just told through pantomime and slapstick instead of dinner-table farce.
Chaplin's tramp battles machines, poverty, and the Depression itself with more physical genius packed into each scene than almost any comedy ever made.
But Largely silent with intertitles; the rhythms of silent comedy ask for patience some viewers won't want to give.

More like this (8)
The Philadelphia Story1940
Class, family, and romance handled with rapid-fire wit and a stacked cast trading barbs at high speed—perfect if you want your comedy clever rather than tender.
But It's more interested in dazzling dialogue than the big-hearted sentiment Capra specializes in.

Holiday1938no page yet
Cary Grant wants out of the family fortune, not into it—an inverse of the Kirby/Sycamore divide, told with the same era's effervescent wit and warmth.
But Quieter and more restrained than Capra's farce; some may find it slow going.
Arsenic and Old Lace1944
If the Sycamores' lovable chaos charmed you, meet a family even stranger: two sweet old aunts, a rising body count, and Cary Grant losing his mind trying to keep up.
But The morbid gags sit oddly close to the farce for some tastes.

It's a Wonderful Life1946
Capra and Stewart again, trading comedy for full sincerity on the same question—money or people—delivered with more tears than laughs this time.
But Heavier and more melancholic; expect fewer jokes and a lot more feeling.

Sabrina1954
A chauffeur's daughter, two wealthy brothers, and a class-crossing romance handled with Billy Wilder's elegance—a glossier, later cousin to the Kirby/Sycamore courtship.
But Slicker and more knowing about money than Capra's earnest populism.

Bringing Up Baby1938
Same year, same screwball engine, cranked to eleven: a leopard, a paleontologist, and two stars who never once slow down to catch their breath.
But Pure farce with none of Capra's social conscience or sentimental undertow.

Grey Gardens1976
The Sycamores made flesh: a real family that opted out of money and convention, but here the film refuses to soften what that choice actually costs.
A real mother and daughter, once high society, now living in gleeful ruin entirely on their own terms—eccentricity with no script and no guaranteed happy ending.
But It's sad as often as it's funny, and the family's isolation is genuinely painful, not a cozy fantasy.

Parasite2019
The same setup—an outsider family infiltrating a wealthy household through love—but plays the gap between classes for dread instead of delight.
Two families, rich and poor, collide through romance and a shared household—the same bones as Capra's story, except the class tension curdles into something violent and unforgettable.
But Genuinely dark and tense where Capra is warm; not the pick if you want a feel-good evening.

People
Cast
Jean ArthurAlice Sycamore
Lionel BarrymoreMartin Vanderhof
James StewartTony Kirby
Edward ArnoldAnthony P. Kirby
Mischa AuerKolenkhov
Ann MillerEssie Carmichael
Spring ByingtonPenny Sycamore
Samuel S. HindsPaul Sycamore
Donald MeekPoppins
H.B. WarnerRamsey
Halliwell HobbesDePinna
Dub TaylorEd Carmichael
Directing
- Arthur S. Black Jr.Assistant Director
- Frank CapraDirector
Writing
- Robert RiskinScreenplay
- George S. KaufmanTheatre Play
- Moss HartTheatre Play
Production
- Frank CapraProducer