Once the Hayes Production Code went into effect in the early 1930's, it's hard to believe they let a film like this get through, even if some of it was trimmed and softened along the way! Hubbard and Landis play a wealthy, attractive young couple who squabbles over little things (and not so little things like Hubbard's massive dog!), but who also love each other deeply. One night, after a particularly aggravating day for both of them, they wish that they could switch places and, thanks to the statue in their bedroom, which comes to life briefly, they do! Landis' wakes up with her consciousness (and voice!) in Hubbard's body and vice-versa! Their thunderstruck friends and co-workers are confounded by the changes and a string of mini-disasters occur. Hubbard is energetic and handsome, exhibiting the Type-A businessman qualities that would reach their zenith in the 1980's. Landis is elegant and amusing. The two share a nice chemistry (and, in fact, had worked together on "One Million BC" just before this) and are believable as a couple. Menjou, who received top billing for this film, is Hubbard's tippling business partner, married to the haughty and conniving Astor. Gargan is Hubbarb's other, even more boozy, partner who's married to flighty Compton. These folks bear the brunt of the changes in the life-swapping couple. A large assortment of other characters dot the landscape including Meek as a jittery valet and Main as a salty, no-nonsense cook. Teasdale (who was Menjou's real-life wife) plays Hubbarb's devoted secretary. The director's daughter, Roach, gets a featured role as a new, blonde dim-bulb secretary for the adverstising firm the three men jointly run. Pangborn has a small role as a client who finds the "new" Hubbard very appealing. The first half of the movie plays out like a romantic screwball comedy, some of which hits and some of which misses. Even when it's less than stellar, the beautiful sets and costumes impress and the quirky characters are enchanting. Later, the supernatural element kicks in and things get much zanier and more outrageous, though nothing too crazy ever happens (unless one counts the zinger of an ending!) What gives the film its distinction is the way it presents the mixed up couples. Hubbard walks like a lady and has a female voice. Landis wears sweat shorts and climbs a flagpole. These role-reversal elements give the film a vibe that appeals to some gay and lesbian viewers. Adding to this is the presence of fruity Pangborn and mannish Teasdale, not to mention the rather butch Main and an eager masseuse (Alper) who can't wait to get his paws on Hubbard at every opportunity. The film is perhaps as far away from politically correct as one can get these days with all the boozing and the stereotypes (including racial) one can imagine, but it's a frothy, brief treat that is always interesting to look at and is frequently funny. Landis, an actress who would kill herself at 29, is lovely and Astor looks tremendous in a variety of gowns and headgear. This concept would be tweaked and redone many times in films like "Freaky Friday", "Vice-Versa" and others.
Review of Turnabout
