Every Girl Should Be Married is directed by Don Hartman who also co-writes with Stephen Morehouse Avery and Eleanor Harris. It stars Cary Grant, Betsy Drake, Franchot Tone and Diana Lynn. Music is by Leigh Harline and photography by George E. Diskant.
Betsy Drake (in her screen debut) plays Anabel Sims, a department-store clerk who goes after paediatrician Dr. Madison W. Brown (Grant), determined to snag him as her husband.
Women have found it necessary to use subterfuge and their own feminine devices for centuries.
Fun, frothy and a little daring, Every Girl Should Be Married is of its time but none the worse for it. It's a different spin on the battle of the sexes format with Betsy Drake's determined femme proving to be the aggressor in the pursuit of happiness. There would have been some feminists cringing at the notion of one of their number seemingly courting marriage as a reason for being, but digging further into the character reveals a strong lady who knows what she wants and sets about getting it. As the character stands up and says during a marvellous sequence at a lecture given by Grant's eminent doctor, who wrote the rule that only men can ask a girl out? To be the one doing the pursuing? It's relevant stuff and via its comedy zeal puts the sexes on an even playing field. And you know what? As a red blooded male I found this in itself to be very sexy! Drake only had a short career, she would marry Grant soon after this film had been a hit at the Christmas 1948 box office. It's a shame we never got more from her because she owns this film. Managing to shift easily from girlish charm to strong willed woman when the narrative demands, she offers up a counterpoint to the foggy memory of the "Suzy Homemakers" so rife in 50s and 60s American romantic comedies . Drake brings originality to the role, while simultaneously providing great comedy opposite the ever coy Grant. She also has a smile that could melt the coldest of hearts. Grant, Tone and Lynn are playing second fiddle, but that's not to the film's detriment, and with Hartman unfussy in his direction it rounds the film out as a winner. It does pick some ideas from the pockets of previous screw balls, but with its centre fresh and interesting it would be churlish to criticise some outer edge formula steals. 7.5/10
Betsy Drake (in her screen debut) plays Anabel Sims, a department-store clerk who goes after paediatrician Dr. Madison W. Brown (Grant), determined to snag him as her husband.
Women have found it necessary to use subterfuge and their own feminine devices for centuries.
Fun, frothy and a little daring, Every Girl Should Be Married is of its time but none the worse for it. It's a different spin on the battle of the sexes format with Betsy Drake's determined femme proving to be the aggressor in the pursuit of happiness. There would have been some feminists cringing at the notion of one of their number seemingly courting marriage as a reason for being, but digging further into the character reveals a strong lady who knows what she wants and sets about getting it. As the character stands up and says during a marvellous sequence at a lecture given by Grant's eminent doctor, who wrote the rule that only men can ask a girl out? To be the one doing the pursuing? It's relevant stuff and via its comedy zeal puts the sexes on an even playing field. And you know what? As a red blooded male I found this in itself to be very sexy! Drake only had a short career, she would marry Grant soon after this film had been a hit at the Christmas 1948 box office. It's a shame we never got more from her because she owns this film. Managing to shift easily from girlish charm to strong willed woman when the narrative demands, she offers up a counterpoint to the foggy memory of the "Suzy Homemakers" so rife in 50s and 60s American romantic comedies . Drake brings originality to the role, while simultaneously providing great comedy opposite the ever coy Grant. She also has a smile that could melt the coldest of hearts. Grant, Tone and Lynn are playing second fiddle, but that's not to the film's detriment, and with Hartman unfussy in his direction it rounds the film out as a winner. It does pick some ideas from the pockets of previous screw balls, but with its centre fresh and interesting it would be churlish to criticise some outer edge formula steals. 7.5/10