Sorry, cineastes, but this review will not include terms like 'auteur', 'mise en scene' or 'decontextualized'. They wouldn't fit anyway: HERE COMES MR JORDAN's tale of a goodnatured boxer killed 'before his time' and hastily compensated with another body by heavenly emissaries, is too airy a souffle to hold up under such heavy analysis. It's pure moonshine, a near-perfect example of the kind of breezy, warm-hearted entertainment that the Hollywood studio system (here at its apex) produced on its best days. There isn't a facet of JORDAN that's not wholly artificial; plot, characters, sets - all of them are imported direct from Never-Neverland. Call it DEATH MAKES A LEFT TURN ON A RED LIGHT. Star Robert Montgomery continues to be unfairly forgotten. An actor at ease before a camera regardless of genre, he does fine work here in a role that's trickier than it seems, and is ably abetted by the always-watchable pair of Claude Rains and James Gleason. The mix of fantasy, comedy and sentiment could never gel this beautifully had a more harshly realistic tone been adopted. (For proof, see the leadfooted Beatty remake - its aloof, smirky hipness is far more archaic now than the simple timelessness of JORDAN's unashamed tall corn, still standing 60 years on.) Not that HEAVEN CAN WAIT is the only remake, official or otherwise; JORDAN's basic premise has been worked harder than a pack mule by now, but every new variation is a progressive diminution from the original. But that's what happens when you try to bottle moonshine by design, instead of catching it by chance.