The first half is almost delightful, thanks to a light touch and some snappy dialog. Then too, Sothern and Craig act out the lines with bounce and sass. And to spice things up, we don't just wonder which girl Breezy (Craig) will end up with, there are even hints that it might be both! (Pretty naughty for the time.)
But then the screenplay turns gradually somber as the troubled Iris (Rogers) takes over and the breezy Breezy drops out of sight. The transition is rather skillfully managed; still, the movie loses its bouncy strong point, becoming almost melodramatic instead. Too bad, but then it seems good comedy scripts are harder to do than good melodrama-- maybe that's why.
One reason I watch these wartime programmers is to catch some flavor of the times. I figured a swing shift at a defense plant might provide insight. Well, the movie does, partially. There's some Rosie the Riveter feminism as expected.
But what I picked up was that each segment of the airplane assembly line was sealed off by guards from the others. Just why wasn't explained, but I surmise it was to make possible espionage more difficult. Also, the little episode with Iris's long locks explains why the iconic Rosie is always pictured with bundled hair. Still, I wish the rather lengthy run-time (87-min.) spent more time with how the women were adjusting to their new roles, which might also have made good comedy.
Anyway, despite the questionable change in tone, it's a decent enough programmer, especially the bouncy first half.
But then the screenplay turns gradually somber as the troubled Iris (Rogers) takes over and the breezy Breezy drops out of sight. The transition is rather skillfully managed; still, the movie loses its bouncy strong point, becoming almost melodramatic instead. Too bad, but then it seems good comedy scripts are harder to do than good melodrama-- maybe that's why.
One reason I watch these wartime programmers is to catch some flavor of the times. I figured a swing shift at a defense plant might provide insight. Well, the movie does, partially. There's some Rosie the Riveter feminism as expected.
But what I picked up was that each segment of the airplane assembly line was sealed off by guards from the others. Just why wasn't explained, but I surmise it was to make possible espionage more difficult. Also, the little episode with Iris's long locks explains why the iconic Rosie is always pictured with bundled hair. Still, I wish the rather lengthy run-time (87-min.) spent more time with how the women were adjusting to their new roles, which might also have made good comedy.
Anyway, despite the questionable change in tone, it's a decent enough programmer, especially the bouncy first half.