Once again, a female employer finds she can't juggle a career with love, and when she falls under the spell of author Melvyn Douglas, who has written a tell-all book on conditions at the company she runs, trouble ensues. She's a force to be reckoned with in the office, yet not as bossy at home with her mother (Billie Burke) and sister (Helen Parrish) with whom she shares a loving relationship. Yet, she has control of the purse strings, and isn't afraid of using those profits she's earning to pay off one of her sister's lovers for old love letters. Crawford initially thinks that Douglas was the old lover, but when the truth comes out, she can't help but admit that she's attracted to him, and that stirs the board of directors into an uproar.
Crawford gets to do a mean jitterbug here, tossed around by her company's truck driver Allen Jenkins during a dance contest. But it is only a matter of time before her true identity will be revealed, and the question arises, can a woman during the early War years run a company and find love, or will she forsake one for the keeping of the other? Crawford and Douglas, teamed several times over at MGM, prove that at Columbia (where she replaced the recently killed Carole Lombard) they are a formidable team. Burke twitters most of her lines, while wisecracking Mary Treen is only distinguishable from the slightly similar Mary Wickes by her softer voice. There's also a very amusing walk-on by Charles Lane whom Crawford later refers to with a hysterical description.
Like other movies on the subject of women in total power in big business, this ends on a rather typical note of her possibly giving everything up, although the screenwriter seems to leave that decision up to the viewer, even if the final line Crawford utters in the movie states otherwise.
Crawford gets to do a mean jitterbug here, tossed around by her company's truck driver Allen Jenkins during a dance contest. But it is only a matter of time before her true identity will be revealed, and the question arises, can a woman during the early War years run a company and find love, or will she forsake one for the keeping of the other? Crawford and Douglas, teamed several times over at MGM, prove that at Columbia (where she replaced the recently killed Carole Lombard) they are a formidable team. Burke twitters most of her lines, while wisecracking Mary Treen is only distinguishable from the slightly similar Mary Wickes by her softer voice. There's also a very amusing walk-on by Charles Lane whom Crawford later refers to with a hysterical description.
Like other movies on the subject of women in total power in big business, this ends on a rather typical note of her possibly giving everything up, although the screenwriter seems to leave that decision up to the viewer, even if the final line Crawford utters in the movie states otherwise.