I was not planning on making a comment for this unimpressive effort, but I felt obliged to after noticing that only one other person had bothered to write something. First of all, I must say that although I never really cared for Charles Boyer "debonair" style of acting, Margaret Sullavan has always been one of my favorite actresses. Whenever I see her in a drama I am sure of the ending (one of the main characters, usually hers, will find a way to die in the end) but in comedy she tends to be more light and fun to watch.
In a plot that strives to make sense in some sort of Lubitsch-like battle of the sexes, we have a writer and a woman- doctor who find love and marriage rather quickly. In a unique way, we soon learn that Sullavan's doctor has a rather open view of her relationship with Boyer's womanizing writer, one that allows separate apartments and separate lives as well. The direction by Seiter is uninteresting; unlike Lubitsch he doesn't permit his audience to imagine what is happening. Not that he receives much help from the script department, since that seems to be dwelling in the creation of its main characters and not too sure of which direction it should take its story. With all that in mind, I felt a bit sorry that one of Sullavan's few attempts on comedy failed, having seen her shine on the wonderful Shop Around the Corner. Perhaps if Lubitsch had helmed this one as well we could have had a classic.
Either way I just feel that I have to clarify the fact that, even though this will hardly ever be in anyone's top ten, it's not disgraceful and can be quite fun to watch once one accepts its defects. If you like 1940's style of comedy, I see no real reason that would keep you from enjoying this one, even if you can easily come up with a better movie to watch. A guilty pleasure as they say, specially if you are a bit of a fan of either one of the two main actors.
In a plot that strives to make sense in some sort of Lubitsch-like battle of the sexes, we have a writer and a woman- doctor who find love and marriage rather quickly. In a unique way, we soon learn that Sullavan's doctor has a rather open view of her relationship with Boyer's womanizing writer, one that allows separate apartments and separate lives as well. The direction by Seiter is uninteresting; unlike Lubitsch he doesn't permit his audience to imagine what is happening. Not that he receives much help from the script department, since that seems to be dwelling in the creation of its main characters and not too sure of which direction it should take its story. With all that in mind, I felt a bit sorry that one of Sullavan's few attempts on comedy failed, having seen her shine on the wonderful Shop Around the Corner. Perhaps if Lubitsch had helmed this one as well we could have had a classic.
Either way I just feel that I have to clarify the fact that, even though this will hardly ever be in anyone's top ten, it's not disgraceful and can be quite fun to watch once one accepts its defects. If you like 1940's style of comedy, I see no real reason that would keep you from enjoying this one, even if you can easily come up with a better movie to watch. A guilty pleasure as they say, specially if you are a bit of a fan of either one of the two main actors.