The best thing about TURNABOUT is a supporting cast of pros, the kind you'd expect to find in a Preston Sturges comedy--but here, it's Hal Roach directing an amusing farce about a husband and wife who literally switch places after years of bickering.
When they're granted their wish by a Buddah statue in their bedroom, he ends up wearing her nightgown and she's wearing his PJs. Not only that, but she's got his voice and vice versa. It's an amusing switch that happens halfway through the film, but the results are more meager than you might expect. JOHN HUBBARD is obviously enjoying his comedy role that allows him to swish around as the hubby with Carole's voice and manner, and she turns in a fine comic performance as the deep voiced man takes over her body. The dubbing is done rather skillfully.
And yet, despite the novelty of this sort of film being made under the Code restrictions of 1940, it only manages to squeeze a few really funny moments out of a silly screwball script. Most of those moments belong to the great supporting cast, including DONALD MEEK, MARJORIE MAIN and FRANKLIN PANGBORN, all of whom are seen at their best. MARY ASTOR looks fetching in a rather minor role as a gossipy wife.
There's a nice payoff at the end with the final line going to Carole Landis--who, by the way, has never looked lovelier or given a better performance in a comedy role.
Summing up: Modestly amusing despite a novel twist on a romantic comedy.
When they're granted their wish by a Buddah statue in their bedroom, he ends up wearing her nightgown and she's wearing his PJs. Not only that, but she's got his voice and vice versa. It's an amusing switch that happens halfway through the film, but the results are more meager than you might expect. JOHN HUBBARD is obviously enjoying his comedy role that allows him to swish around as the hubby with Carole's voice and manner, and she turns in a fine comic performance as the deep voiced man takes over her body. The dubbing is done rather skillfully.
And yet, despite the novelty of this sort of film being made under the Code restrictions of 1940, it only manages to squeeze a few really funny moments out of a silly screwball script. Most of those moments belong to the great supporting cast, including DONALD MEEK, MARJORIE MAIN and FRANKLIN PANGBORN, all of whom are seen at their best. MARY ASTOR looks fetching in a rather minor role as a gossipy wife.
There's a nice payoff at the end with the final line going to Carole Landis--who, by the way, has never looked lovelier or given a better performance in a comedy role.
Summing up: Modestly amusing despite a novel twist on a romantic comedy.