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Topper Returns
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| Topper Returns | |
|---|---|
Theatrical release poster | |
| Directed by | Roy Del Ruth |
| Written by | Jonathan Latimer Gordon Douglas Paul Gerard Smith (additional dialogue) |
| Based on | Characters created by Thorne Smith |
| Produced by | Hal Roach |
| Starring | Joan Blondell Roland Young Carole Landis Billie Burke |
| Cinematography | Norbert Brodine |
| Edited by | James Newcom |
| Music by | Werner R. Heymann |
Production company | |
| Distributed by | United Artists |
Release date |
|
Running time | 88 minutes |
| Country | United States |
| Language | English |
| Budget | $500,000[1] |
| Box office | $500,931[2] |


Topper Returns is a 1941 American supernatural comedy thriller film directed by Roy Del Ruth and starring Joan Blondell, Roland Young, Carole Landis and Billie Burke.[3] The third and final installment in the initial series of supernatural comedy films inspired by the novels of Thorne Smith, it succeeds Topper (1937) and Topper Takes a Trip (1938).
As in the prior films, Young plays Cosmo Topper, a mousy banker who gets into trouble because of his ability to see and speak with ghosts, and Burke plays his wife, who is constantly befuddled by his strange antics. The plot revolves around a murder mystery. Blondell portrays a slain woman who seeks the reluctant Topper and enlists his help in identifying her killer and saving her friend, played by Carole Landis. Most of the action takes place in a spooky mansion filled with eccentric characters, trapdoors and secret passages.
The film was nominated for the Academy Awards for Best Special Effects (Roy Seawright and Elmer Raguse) and Best Sound Recording (Elmer Raguse).[4] A TV series, Topper, premiered in 1953 and ran for two seasons.[5] A pilot called Topper Returns (1973)[6] was later made for a proposed TV series. There was also a made-for-TV remake, Topper, in 1979.[7]
In 1969, Topper Returns entered the public domain in the United States because the claimants did not renew its copyright registration in the 28th year after publication.[8]
Plot
[edit]Wealthy young heiress Ann Carrington and her best friend Gail Richards are riding in a speeding taxi driven by Bob, along the coast. A figure dressed all in black, with covered face and hat, aims a rifle with the telescopic sight crosshairs focused on the cab from a distance and shoots out the rear tire. The taxi flips on its side at the edge of a cliff, inches away from having fallen into crashing ocean waves below. Bob, the taxi driver, extracts his passengers from the vehicle and leaves them at the side of the road so he can walk back to a garage they passed.
Ann and Gail try hitchhiking and get passed by the first car. Gail raises Ann's skirt to expose her leg when a second car passes, and the driver ends up crashing into a tree. Next, they block the road by sitting on their suitcases so the next car is forced to stop. In the sports car is banker Cosmo Topper and his chauffeur, Eddie. The two girls brazenly load their luggage and climb into the car. They insist on being driven to Ann's destination, the Carrington mansion. The back seat of the car is loaded with luggage and Ann, so Gail volunteers to ride sitting on Cosmo's lap, ignoring his protests.
As they drive past Topper's house, Mrs. Clara Topper is out front with her maid and waves to the approaching car. She is surprised to see her husband drive past with a young blonde sitting on his lap and distraughtly concludes he is having an adventure. The girls are dropped off at the stately cliff top mansion next door to Topper's residence, where they are received by three creepy staff members, butler Rama, housekeeper Lillian, and another unnamed staff member.
Ann is directed to the study to see her father by the housekeeper, but her friend Gail is to stay behind. Ann is then intercepted by the creepy Dr. Jeris. Dr. Jeris warns Ann that her father, Henry Carrington, is in poor health and takes her to meet her father, who is sitting in a chair with a blanket over his legs. In the conversation, we find that Ann has been raised in the East at her mother's request. Ann has no memories of her father, as they have been separated since her mother and Carrington's business partner died in a cave while inspecting a company mine. Ann's father also reveals that the next day would be Ann's birthday and, according to her mother's will, she is to come into full control of the family fortune.
After leaving her father, Ann and Gail are to be shown upstairs to their rooms. Gail is waiting on the stairs, and as Ann crosses the main hall, a giant chandelier breaks loose from the ceiling. Ann escapes harm because Gail screams in time for Ann to stop and just barely be missed by the chandelier. The girls continue to their rooms. The first room is Gail's, decorated in an Oriental motif. Gail is unimpressed, as they have just returned from living in the East. Ann is then taken to her bedroom, which is spectacularly decorated. Gail discovers the rooms are adjoining. She makes such a fuss about how beautiful the room is that Ann insists that they trade, so Gail sleeps in what was supposed to be Ann's room.
In the middle of the night, a secret panel opens in the bedroom and the masked figure dressed all in black enters the bedroom and opens the windows. Gail is knifed to death as she gets up to shut the window, having been mistaken for Ann.
Gail's ghost separates from her body. Ghost-Gail walks out the window and goes down the road to the Topper's house to find someone who can help solve her murder. She finds Topper and convinces him to come to the Carrington mansion by threatening to create a scandal with his suspicious wife if he doesn't. Topper calls Eddie the chauffeur to get the car ready. Eddie grumbles and protests, but he drives Topper back to mansion. Eddie is unaware of the ghost and experiences a number of puzzles as doors open and shut, cushions depress, voices are heard, footprints appear on the snowy walkways, and so on. Eventually, he gets so scared that he runs away, drives back to the Toppers' house, and starts packing to leave. Mrs. Topper finds him and asks where Cosmo is, then demands to be driven to the house next door to find him. Eddie says he's had it and wants to go back to his former employer, Mr. Benny, but Mrs. Topper bullies him into driving her and Emily the maid to the Carringtons'.
Meantime, Topper, with the guidance of Ghost-Gail, finds the dead body of Gail, and goes downstairs to phone the police, but the phone doesn't work. Dr. Jeris, armed with a pistol, and the three staff members discover him, surround him, and keep him confined. He insists on going up to the bedroom to show them the body, but when they arrive, Gail's body is gone. The doctor and Mr. Carrington treat him as a lunatic. When Ann comes into the room, Topper tries to explain, but the housekeeper finds a note that Gail apparently wrote, saying she has left.
At this point, Mrs. Topper, her maid Emily, and Eddie arrive and insist Topper is in the house as they push their way in to look for him. By this time, it is nearly daylight, and Bob, the taxi driver, shows up at the house to collect his unpaid fare. Ann, who is wondering what happened to Gail, becomes frightened and asks Bob to escort her to her room to get the fare. They go up to the bedroom, where Bob volunteers to wait outside the room. While Ann is in the room, the black dressed assassin appears, but Ann sees him in the mirror, screams, and Bob responds in time to see the black figure escape through the window.
In the following sequences, there are many comings and goings with people disappearing and reappearing by way of concealed stairways and hallways reachable by moving or rotating wall panels. Mrs. Topper uses the phone and calls the police to report her missing husband and innocently mentions there has also been a murder. Soon police detective Roberts, with a squad of officers, comes in and starts asking questions. He gets confused by the conflicting answers and by tricks that Ghost-Gail plays.
Ghost-Gail has Topper hide in the kitchen's walk-in refrigerator. Eventually, Topper is found by his wife, and the bulk of the characters end up in the kitchen. Ghost-Gail lifts a pistol from police detective Roberts’ pocket, forces it on Topper, and manipulates him to lock everyone in the refrigerator. Ghost-Gail and Topper then proceed to look for her body to prove the murder. Eventually, Bob breaks the window in the refrigerator door and lets everyone out of the refrigerator. Ann is kidnapped by the figure in black and is ultimately rescued by Bob, with assistance from Ghost-Gail.
Lillian the housekeeper is eventually proved to be the writer of Gail's note. She admits that she was in on some of the deceptions but had nothing to do with the murder. The lights go out suddenly, Lillian screams, disappears, and is presumed dead. It turns out there is a secret chain in the fireplace that, when pulled, makes the chair in the center of the room tilt backward and dump the occupant into a vertical shaft that leads to a water-filled cave below the mansion.
Eventually, the threads come together. Topper and Ghost-Gail manage to retrieve her body from a small ship a short distance offshore from the water cave. The body is returned to the mansion and, despite the comic total confusion of the detective, Topper states that the killer must have been the person who was standing nearest the fireplace when Lillian was about to talk, and that person was none other than Mr. Carrington.
Mr. Carrington escapes the room and drives off in a car. Ghost-Gail climbs into Topper's sports car in pursuit. Eddie is in the back seat, terrified that the car is being driven at top speed on winding roads with an invisible driver. Mr. Carrington, being followed in hot pursuit, eventually loses control. His car leaves the road and crashes into a tree. He dies and becomes a ghost himself. Before anyone arrives, Ghost-Gail browbeats Ghost-Carrington into writing a letter to Ann, confessing that he is not her father, but her father's business partner. Her father died in the mine together with Ann's mother, and he has been impersonating Carrington in order to kill Ann and keep the fortune for himself.
Ghost-Gail gives the letter to Topper when the other characters arrive at the crash scene, and Topper hands it to Ann. Clara Topper sees that Cosmo was mostly telling the truth about his adventures with the two young ladies, and Bob and Ann comfort each other. Eddie quits, and Clara convinces the maid Emily to drive the Toppers home. Ghost-Gail thanks Eddie for the help, then Ghost-Carrington apologizes for dumping him in the water. This scares Eddie, who runs so fast he passes the Toppers' car.
Cast
[edit]- Joan Blondell as Gail Richards
- Roland Young as Cosmo Topper ("Toppy")
- Carole Landis as Ann Carrington
- Billie Burke as Mrs. Clara Topper
- Dennis O'Keefe as Bob, the taxi driver
- Patsy Kelly as Emily
- H. B. Warner as Henry Carrington ("father")
- Eddie "Rochester" Anderson as Eddie
- George Zucco as Dr. Jeris
- Donald MacBride as Police Sergeant Roberts
- Rafaela Ottiano as Lillian
- Trevor Bardette as Rama
- George Lloyd as Boat Captain
- Brick Sullivan as Darryl, Police Officer
- William O'Brian as Second Butler
- Eddy Chandler as Jim, Police Sergeant
Reception
[edit]Rotten Tomatoes gives the film an 89% "fresh" rating based on 9 reviews, and an average of 7/10.[9] Variety said the "[f]ilm begins to miss out when the story veers from its own premise to the level of a conventional mystery farce".[10]
Preservation
[edit]Topper Returns was preserved and restored by the UCLA Film and Television Archive. The restoration premiered at the UCLA Festival of Preservation in 2022. Restoration funding provided by the Packard Humanities Institute.
See also
[edit]References
[edit]- ^ "UA Meeting". Variety. 20 November 1940. p. 20.
- ^ Ward, Richard Lewis (2005). A history of the Hal Roach Studios. Southern Illinois University Press. p. 213. ISBN 978-0-8093-2637-2. - figures are producer's share from US/Canada
- ^ Fetrow p.533
- ^ "The 14th Academy Awards (1942) Nominees and Winners". oscars.org. Retrieved 2011-08-13.
- ^ Topper (1953 TV series) at IMDB
- ^ Topper Returns (1973 pilot for proposed TV series) at IMDB
- ^ Topper (1979 TV Movie) at IMDB
- ^ Pierce, David (June 2007). "Forgotten Faces: Why Some of Our Cinema Heritage Is Part of the Public Domain". Film History: An International Journal. 19 (2): 125–43. doi:10.2979/FIL.2007.19.2.125. ISSN 0892-2160. JSTOR 25165419. OCLC 15122313. S2CID 191633078.
- ^ "Topper Returns (1941) - Rotten Tomatoes". Rotten Tomatoes. 10 September 2019. Retrieved 11 September 2019.
- ^ Variety, Staff (31 December 1940). "Topper Returns". Variety. Retrieved 11 September 2019.
Bibliography
[edit]- Fetrow, Alan G. Feature Films, 1940-1949: a United States Filmography. McFarland, 1994.
External links
[edit]- Topper Returns at the AFI Catalog of Feature Films
- Topper Returns at IMDb
- Topper Returns at AllMovie
- Topper Returns at the TCM Movie Database (archived version)
- Topper Returns is available for free viewing and download at the Internet Archive
- Topper Returns on YouTube
Topper Returns
View on GrokipediaBackground and Production
Development and Pre-production
Following the success of the first two films in the Topper series, producer Hal Roach developed a third entry to capitalize on the established franchise.[4] The project featured an original story by Jonathan Latimer and Gordon Douglas, incorporating characters created by Thorne Smith. The film was budgeted at approximately $600,000.[4] Latimer and Douglas adapted their story into the screenplay, with additional dialogue contributed by Paul Gerard Smith to enhance the comedic and supernatural elements.[2] Roy Del Ruth was brought on as director, replacing Norman Z. McLeod from the prior installments, while Hal Roach Studios handled production under Roach's oversight.[4] Casting emphasized continuity with returning stars Roland Young as Cosmo Topper and Billie Burke as Clara Topper, alongside new leads Joan Blondell as the ghost Gail Richards and Carole Landis as heiress Ann Carrington to inject fresh dynamics into the ghostly comedy-thriller format.[4] Pre-production wrapped quickly, with principal photography commencing in early November 1940 and completing by mid-December 1940 at Hal Roach Studios in Culver City, California.[4]Filming and Technical Aspects
Topper Returns was filmed primarily at Hal Roach Studios in Culver City, California, during a production period spanning early November to mid-December 1940.[5] The majority of the film's action takes place within the Carrington mansion, a set designed by production designer Nicolai Remisoff as a gothic Victorian structure featuring trap doors, secret passages, and a mausoleum-like atmosphere to enhance the supernatural thriller elements. This set was refurbished from one used in the earlier Hal Roach production One Million B.C. (1940), allowing for efficient reuse of elaborate interiors. Exteriors suggesting upstate New York were likely achieved through studio backlots or matte techniques.[4] Directed by Roy Del Ruth, the film employed black-and-white cinematography by Norbert Brodine, capturing the 1.37:1 aspect ratio for a total runtime of 87 minutes. Sound was recorded in mono using Western Electric Mirrophonic Recording, overseen by sound director Elmer Raguse, contributing to the film's nomination for Best Sound Recording at the 14th Academy Awards. Editing by James Newcom focused on pacing the blend of comedy and mystery, with seamless transitions between live-action and ethereal sequences.[4][2] The production's technical highlights centered on special effects to depict ghostly presences, led by photographic effects supervisor Roy Seawright. Techniques included double exposures for ghost materializations, such as Joan Blondell's character appearing and disappearing, and composited shots for invisible interactions like moving clothes or self-juggling vases. Rear-projection and matte paintings were used for establishing shots and dynamic scenes, including a notable sequence with invisible rowers in a boat. These innovations earned the film an Academy Award nomination for Best Special Effects at the 14th Academy Awards.[6][7]Plot
Ann Carrington returns to the United States from France on her 21st birthday to claim her inheritance from her late mother's estate. Accompanied by her friend Gail Richards, their taxi is sabotaged when a cloaked figure shoots out the tires on a remote road, causing it to crash. Unharmed, the two women hitch a ride with mild-mannered banker Cosmo Topper and his chauffeur Eddie, who drop them off at the secluded and reportedly haunted Carrington mansion.[4] At the mansion, Ann reunites with her estranged father, Henry Carrington, who is bedridden and cared for by family physician Dr. Jeris and servants Lillian and Rama. Henry reveals the tragic history: Ann's mother died in a mining accident in Sumatra along with her business partner Walter Harvey, after which Ann was sent to live with relatives in France. Admiring the luxurious guest room assigned to Ann, Gail convinces her to switch rooms for the night. That evening, the cloaked intruder enters through a secret panel and stabs Gail to death, mistaking her for Ann. Gail's spirit materializes and seeks out Topper at his home, where he lives with his jealous wife Clara. Only Topper can see or hear Gail, and she implores him to help uncover her murderer to allow her to pass on. Topper reluctantly agrees and sneaks back to the Carrington estate, where he discovers Gail's body—but it vanishes before he can alert anyone.[2] Chaos ensues as Topper raises the alarm. The local police, led by bumbling Sergeant Roberts, arrive along with taxi driver Bob, who has become infatuated with Ann. Clara and the Toppers' maid Emily also show up, complicating matters. Suspicions fall on Topper when the body reappears briefly. With Gail's ghostly assistance—making objects move and providing clues—Topper investigates the mansion's inhabitants and its hidden passages. Further attempts are made on Ann's life, including a falling chandelier and a kidnapping attempt. In the climax, Topper exposes the true culprit: the man posing as Henry Carrington is actually Walter Harvey, who faked his death in the mining accident, murdered the real Henry, and assumed his identity to control the estate and eliminate Ann as the heir. Trapped by a rigged chair that drops him through a trapdoor, the imposter is apprehended, allowing Gail's spirit to finally find peace.[4]Cast and Characters
The following table lists the principal cast and the characters they portrayed in Topper Returns.[8]| Actor | Character |
|---|---|
| Joan Blondell | Gail Richards |
| Roland Young | Cosmo Topper |
| Carole Landis | Ann Carrington |
| Billie Burke | Mrs. Clara Topper |
| Dennis O'Keefe | Bob Worthington |
| Patsy Kelly | Emily, the maid |
| H. B. Warner | Mr. Carrington |
| George Zucco | Mr. Stokes |
Release
Theatrical Release and Distribution
Topper Returns was released theatrically in the United States on March 21, 1941.[4] The film was produced by Hal Roach Studios and distributed nationwide by United Artists, marking the second and final sequel in the Topper series under Roach's production banner.[4][9] United Artists handled the distribution through its established network of theaters, employing standard promotional strategies for comedies of the era, including newspaper advertisements, lobby displays, and tie-ins with consumer brands such as Chesterfield cigarettes and Royal Crown Cola to leverage the film's star power and ghostly theme.[10] Local marketing efforts encouraged exhibitors to run photo contests, "ghost laugh" competitions, and teaser campaigns with posters featuring the tagline "Topper’s back—with a new glamour ghost!" to build audience anticipation.[10] The release capitalized on the success of prior Topper entries, positioning the film as a lighthearted fantasy-comedy for general audiences, with no reported regional variations in its initial rollout beyond typical staggered bookings in major cities.[3] Trailers and heralds were provided by National Screen Service to support theater showings, emphasizing the cast including Joan Blondell and Roland Young.[10]Box Office Performance
Topper Returns, released on March 21, 1941, by United Artists, achieved moderate box office success as a sequel in Hal Roach's supernatural comedy series, though it did not rank among the year's top earners. Contemporary trade analysis in Box Office Digest rated the film's initial performance potential at 90% of average, positioning it as a solid but not exceptional draw suitable for dual bills in theaters.[11] Subsequent evaluations in the same publication noted a slight decline, with revised estimates of 88% by late April and 80% by late May, reflecting broader industry challenges in the early wartime period.[11] The film's earnings contributed to the viability of the Topper franchise, which had proven profitable since the 1937 original. With a budget of $500,000, it grossed $500,931 worldwide. Its performance aligned with B-picture expectations, bolstered by strong cast appeal including Joan Blondell and returning leads Roland Young and Billie Burke, and it sustained interest through television reruns in later decades.[11]Reception and Analysis
Critical Response
Upon its release, Topper Returns received mixed reviews from critics, who praised the performances but often criticized the film's lack of originality and shift toward conventional mystery elements. In The New York Times, the review described the picture as a "rather sluggish ghost-hunt" that relied on overfamiliar ghostly antics like sliding panels and trick chairs, concluding that it felt like "old stuff" despite the cast's efforts.[12] Similarly, Variety noted that the third installment in the Thorne Smith series deviated into a "conventional mystery farce," with director Roy Del Ruth's handling lacking the improvisation of predecessors, though it highlighted the "original astral body" concept and strong comedic support from Eddie "Rochester" Anderson.[13] Critics frequently commended the lead actors for elevating the material. Joan Blondell's portrayal of the sassy ghost Gail Richards was singled out for its bubbly energy and comic timing, while Roland Young's return as the beleaguered Cosmo Topper maintained his droll charm from prior films.[13] The film's blend of supernatural comedy and whodunit suspense was seen as appealing to audiences, even if it diluted the series' whimsical spirit.[12] In aggregate, modern critical assessments reflect a modestly positive reevaluation. On Rotten Tomatoes, the film holds an 88% approval rating from eight reviews, with praise for its fun haunted-house setting and Blondell's spirited performance outweighing complaints about tired humor.[3] The American Film Institute Catalog notes contemporary coverage in trade publications like The Film Daily, underscoring its industry attention despite the divided opinions.[4]Themes and Style
Topper Returns blends screwball comedy with fantasy and murder mystery elements, centering on themes of supernatural intervention in the affairs of the living. The story revolves around a ghostly detective aiding in the resolution of a whodunit plot, emphasizing how the afterlife can influence mortal justice and personal redemption. This motif draws from Thorne Smith's original novel concepts, where ethereal beings disrupt the staid routines of the bourgeoisie, highlighting contrasts between the vibrant, carefree spirits and the repressed lives of characters like the timid banker Cosmo Topper.[13][14] The film also incorporates Old Dark House genre tropes, such as a gloomy mansion filled with hidden passages, suspicious servants, and an imperiled heiress, to underscore themes of inheritance, family secrets, and deception within affluent society. These elements serve to critique superficial social norms, with the ghosts exposing hypocrisies and facilitating truth amid comedic chaos. However, the narrative occasionally veers into conventional mystery farce, diluting the unique supernatural premise with formulaic suspense.[14][4] Stylistically, director Roy Del Ruth employs a lively, frothy approach with energetic pacing and droll humor, characterized by rapid-fire dialogue and physical gags. The comedy relies on the interplay between visible and invisible characters, enhanced by special effects reminiscent of The Invisible Man, such as floating objects and disembodied voices, which add a layer of whimsical fantasy to the proceedings. Lush art direction in the mansion sets contributes to a visually opulent yet eerie atmosphere, blending screwball levity with subtle chills. The film's nomination for Academy Awards in Sound Recording and Special Effects underscores its technical ingenuity in realizing these ghostly antics.[13][14][4] Performances further define the style, with Joan Blondell's bubbly, wisecracking ghost providing sharp comedic timing and Roland Young's understated exasperation anchoring the absurdity. Eddie "Rochester" Anderson's role as the terrified butler introduces nonsensical humor but reflects era-specific racial stereotypes, a stylistic choice common in 1940s comedies that now draws criticism for its insensitivity. Overall, Topper Returns maintains a light-hearted tone despite its thriller undertones, prioritizing entertainment through supernatural hijinks over deeper emotional exploration.[13][14]Legacy
Preservation and Restoration
In 1969, Topper Returns entered the public domain in the United States due to the failure to renew its copyright registration.[15] This status has facilitated broad accessibility, with multiple digital and physical releases available through public archives and distributors, though many pre-restoration versions suffer from degraded image quality, chemical instability, or incomplete elements typical of 1940s nitrate-based film stock. The most significant preservation effort occurred in 2022, when the UCLA Film & Television Archive undertook a comprehensive restoration of the film.[16] Funded by the Packard Humanities Institute, the project aimed to revive the original visual and auditory fidelity of this Hal Roach Studios production, addressing issues such as fading contrast, scratches, and synchronized sound deterioration common in unrestored prints from the era.[16] Laboratory work was handled by The PHI Stoa Film Lab for photochemical processing, Audio Mechanics for audio cleanup, and Simon Daniel Sound for final mixing, with additional support acknowledged from Sonar Entertainment, the rights holder.[16] The restored 35mm print, running 95 minutes in black and white, premiered as the world restoration debut on May 22, 2022, at the Billy Wilder Theater in Los Angeles, as part of the UCLA Festival of Preservation's double bill with the short Sinbad the Sailor.[16] This screening underscored the film's enduring value as a screwball comedy-mystery blending supernatural elements with innovative special effects, nominated for an Academy Award in that category upon its original release.[16] The restoration has since been featured in festival circuits, ensuring better preservation for future generations amid the challenges of maintaining public domain classics without commercial incentives. As of 2025, the restored version is primarily available through archival screenings and access rather than commercial home media editions.[17]Home Media and Availability
Topper Returns, having entered the public domain in the United States in 1969 due to non-renewal of its copyright, has seen widespread availability across various home media formats without licensing restrictions.[18] The film was first released on VHS in the late 1980s by budget labels such as Good Times Home Video in 1989, making it accessible to home viewers during the peak of the videotape era.[19] Subsequent VHS editions appeared from other public domain distributors like Creepy Classics, often bundled with similar classic comedies.[20] DVD releases began in the early 2000s, with Image Entertainment issuing a version on August 22, 2000, followed by Alpha Video's DVD-R in 2001.[21] Later editions include a restored version from The Film Detective on March 6, 2015, and a collection set with other Topper films released by MVD Entertainment in 2017.[22][23] More recent manufactured-on-demand DVDs, such as one from Alliance Entertainment in June 2024, continue to provide affordable physical copies.[24] The film's first Blu-ray edition arrived in 2018 from VCI Entertainment on November 13, marking its debut in high-definition home video and featuring an AVC 1080p transfer in the original 1.38:1 aspect ratio.[25] This release has been praised for improving upon prior transfers while preserving the black-and-white cinematography.[26] As of November 2025, Topper Returns is widely available for digital streaming and purchase. Subscription services include Amazon Prime Video, fuboTV, MGM+ (via Amazon Channel and standalone), Philo, Pure Flix, and FlixFling.[27] Free ad-supported options encompass The Roku Channel, Pluto TV, Amazon Prime Video (with ads), Hoopla, Plex, and Public Domain Movies channels.[27] It can also be rented or bought on platforms like Amazon Video, Apple TV, and FlixFling.[27] Due to its public domain status, the film is freely streamable on sites like Archive.org and various YouTube channels hosting classic cinema.[15]References
- https://commons.wikimedia.org/wiki/File:Topper_Returns.webm