Weary of being misunderstood, wondering why men fear him, Death (March) decides to take a three-day holiday, inflicting himself on Duke Lambert&rsquo;s (Standing) unsuspecting, rich vacationers and intruding into the intended marriage plans of the mysteriously disengaged Grazia (Venable) and her solicitous suitor Corrado (Taylor). Based on the Italian play La Morta In Vacanza by Alberto Casella, Death is a beguiling mixture of whimsy, gravitas and dread, spiked by elderly Baron Cesarea&rsquo;s (Travers) pre-Code references to sexual interests past and present and March&rsquo;s grave but entertaining interpretation of the imperious outsider, disguised to all but the terrified Duke as oddball Prince Sirki, learning to appreciate wine, food, flowers, and, ultimately, love. The dialogue is witty with embedded morbid double entendres; Prince Sirki&rsquo;s secret identity sets the mood and drives the humor of awkward social interactions. In fact, March&rsquo;s deadpan reactions frequently call to mind Bela Lugosi. Meanwhile, there&rsquo;s a constant swirl of chatter, socialites Rhoda (Patrick) and Stephanie (Westley) vie for the Prince&rsquo;s attention; the Duke, who&rsquo;s been warned he&rsquo;ll be dead if he reveals Death&rsquo;s identity, is in very enjoyable extremis; and Death, pursuing the receptive but elusive Grazia, charmingly neglects his real job. But frivolity aside, Prince Sirki talks about death frankly, in a way that is almost outr&eacute; today, especially when he announces his love for Grazia and his intention, as the clock strikes down the last minutes of his last day as a mortal, to take her with him. He is persuaded he must ask Grazia&rsquo;s consent; she not only gives it but claims she has seen Sirki as he really is from the start. Possibly because the dialogue is pre-Code, Death is as bewitching, modern, and timely as if it were made today and, in its classy, no-nonsense way, pleasantly stokes end-of-life speculation.<img src="http://magarticles.magzter.com/articles/12748/203751/58c79d8a467a0/1489476781988.jpg"" owidth=369 oheight=553" style="width:300px" />An eternal subject begs for an afterlife. Meet Joe Black transforms the original into a leisurely, sprawling epic, part morality play, part ethereal love story, with the various parts not necessarily tethered and at times uncertain of their destination. This time the Duke who&rsquo;s in on the secret (and similarly warned to keep his mouth shut) is media mogul William Parrish (Hopkins); he&rsquo;s also the intended victim. But once Death, aka Joe Black (Pitt playing to the hilt a role he covets: the wide-eyed and seemingly stupid nincompoop), shows up, he, too, decides it&rsquo;s time to experience the world and the pleasures of the flesh, starting with peanut butter and ending with carnal knowledge of Parrish&rsquo;s questing doctor daughter, Susan (Forlani). Complicating matters is the fact that Susan believes she has fallen in love with a delightful upbeat clone of this ersatz Joe Black, since this equally imperious and enigmatic Death conveniently killed the man Susan met by chance in order to claim a body. On the precipice of death, life and all its irritating details&mdash;as in Death, with the Duke&rsquo;s guests hopping in and out of cars, nattering nonstop and burbling about a pending marriage&mdash;assail Parrish. He is pestered repeatedly by his other, less favorite daughter, the eager-to-please Allison (Harden), who is consumed with planning a mogul&rsquo;s 65th birthday party, and the idiocies of her unctuous husband Quince (the delightfully obsequious Tambor in top two-faced, subversive mode). While Parrish is coming to terms with knowing his life ends at the conclusion of his party, future son-in-law prospect Drew (Weber) connives to sideline Parrish and gain control of the company. Black, a kind of amiable idiot savant with some clever double-entendre lines hearkening back to Death, insinuates himself into every board meeting and dinner party, even showing up at Susan&rsquo;s hospital to frighten a Jamaican old lady with a ludicrous, groan-inducing display of Pitt-concocted Island dialect. You go with the drift because the characters are appealing, the subject is irresistible, Pitt, despite a few missteps, is so polished, and because you&rsquo;re dying to know if Death, in this contemporary retelling having sampled the wares, gets the girl. The film bears half a dozen writing credits, including Bo Goldman, which may explain its needlessly excessive length and mood swings. The tone, however, remains constant; it is the not unpleasant feel of a funeral parlor: soft, unusually intimate and oddly comforting. Parrish, a decent man of some wisdom, counsels Susan to find love and passion in a mate, a theme which recurs and infects Joe. In both films, Death finds love and the pain of losing it. While Joe Black, snapping abruptly out of his persona as an alien come to Earth and suddenly becoming savvy about tax evasion and the workings of the FBI (!), does the right thing by Parrish; as Death he renounces love but, out of love, leaves us pondering (not necessarily satisfactorily) his supernatural solution, proving Death is endlessly seductive.Others who have wielded the cinematic scythe include Monte Markham in the 1971 made-forTV Death adaptation; Nicolas Cage in City of Angels, a loose remake of Wim Wenders&rsquo; Wings of Desire; Bengt Ekerot in Bergman&rsquo;s The Seventh Seal; John Cleese in The Meaning of Life; Ian McKellen in The Last Action Hero; William Sadler in Bill &amp; Ted&rsquo;s Bogus Journey; Joe Estevez in Soultaker; Ralph Pope in Woody Allen&rsquo;s Deconstructing Harry; Christopher Lee on Saturday Night Live; and Vincent Price as The Mysterious Mr. Death in The Masque of the Red Death. But for the best Death of all, no one can beat Frederic March.

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{{magzter}} is the World's largest and fastest growing self-service, cross-platform digital newsstand with over 87 million users since its inception in 2011 and thousands of magazines and newspapers across 40+ categories and 60+ languages. Headquartered in New York, Magzter has its local presence in Amsterdam, London, Mexico City, Chennai, Mumbai, New Delhi, Bengaluru, Singapore, and will soon be expanding to other countries. Founded by global entrepreneurs, Girish Ramdas and Vijay Radhakrishnan in June 2011, Magzter enables magazine and newspaper publishers around the world to create and deliver digital editions of their titles to global consumers.