Bouncy, underrated little comedy about post-war newly-weds adjusting to marriage and civilian life. The mix-ups among a stellar cast fly fast and furious as old romantic relationships and new family rivalries straighten themselves out in sparkling comedic style. I love the scene where the incomparably droll Robert Benchley explains the facts of married life to son Robert Hutton in Benchley's typical fractured fashion. Director Sherman keeps things moving expertly with many nice touches—note how he has Erdman amusingly nuzzle a starched shirt to end a scene that could have lapsed in conventional style.
And what an appealing cast—from harrumphing dad Edward Arnold to wide-eyed bride Joan Leslie to Jimmy Stewart-like groom Robert Hutton. And what a clever use of sly little Donald Meek as the nosy newspaper tycoon. Of course, there are also hawk-nosed Margaret Hamilton as the ambidextrous housekeeper and little Clare Foley as the bratty Elspeth to fill- in the comedic niches. All in all, it's a lively little celebration of post-war life and adjustments and a fine example of B-movie comedy at its topical best.
Several points in passing. Notice the bathroom scene where Benchley and Hutton seat themselves to talk. Now, most bathrooms are not designed for casual conversation, so logically a closed toilet seat should appear. But it doesn't. Instead, sitting stools conveniently appear courtesy the Hollywood Production Code. To my knowledge, the first actual sighting of a toilet on screen was courtesy that sneaky old fox Alfred Hitchcock in Psycho (1960). Speaking of the Code, notice the subtle compromise reached with the newly-weds' sleeping arrangement—twin beds (Code), pushed closely together (reality).
Also worth noting are two harbingers of trends to come. Dorothy Malone's returning WAC is not only a take-charge gal, but she's also wise and knows when to speak up. Notice how it's she who pulls Hutton' fat out of the fire at movie's end and not the man himself—a portent of what would become women's changing role in American life. Then too, diminutive Donald Meek may look insignificant, but what he represents for the future is anything but. His newspaper chain is buying out Arnold's local ownership, which means one of the town's most important institutions will be absorbed into a much bigger and presumably more impersonal corporation. No need to expand on the eventual significance of this. Anyway, for me, this sprightly little programmer turned out to be a surprisingly entertaining glimpse into an America poised for change.
And what an appealing cast—from harrumphing dad Edward Arnold to wide-eyed bride Joan Leslie to Jimmy Stewart-like groom Robert Hutton. And what a clever use of sly little Donald Meek as the nosy newspaper tycoon. Of course, there are also hawk-nosed Margaret Hamilton as the ambidextrous housekeeper and little Clare Foley as the bratty Elspeth to fill- in the comedic niches. All in all, it's a lively little celebration of post-war life and adjustments and a fine example of B-movie comedy at its topical best.
Several points in passing. Notice the bathroom scene where Benchley and Hutton seat themselves to talk. Now, most bathrooms are not designed for casual conversation, so logically a closed toilet seat should appear. But it doesn't. Instead, sitting stools conveniently appear courtesy the Hollywood Production Code. To my knowledge, the first actual sighting of a toilet on screen was courtesy that sneaky old fox Alfred Hitchcock in Psycho (1960). Speaking of the Code, notice the subtle compromise reached with the newly-weds' sleeping arrangement—twin beds (Code), pushed closely together (reality).
Also worth noting are two harbingers of trends to come. Dorothy Malone's returning WAC is not only a take-charge gal, but she's also wise and knows when to speak up. Notice how it's she who pulls Hutton' fat out of the fire at movie's end and not the man himself—a portent of what would become women's changing role in American life. Then too, diminutive Donald Meek may look insignificant, but what he represents for the future is anything but. His newspaper chain is buying out Arnold's local ownership, which means one of the town's most important institutions will be absorbed into a much bigger and presumably more impersonal corporation. No need to expand on the eventual significance of this. Anyway, for me, this sprightly little programmer turned out to be a surprisingly entertaining glimpse into an America poised for change.