An unusually constructed film which starts off like a screwball comedy albeit to the backdrop of both the recently-ended Spanish Civil War and newly-begun Second World War and finishes up as an interventionist call-to-arms against the global threat of Nazism.
I think it works, aided naturally by the writing of the justly celebrated screenwriting partnership of Wilder and Brackett, capable direction of Mitchell Leisen and especially the on-screen chemistry of the emerging Ray Milland and the established Claudette Colbert. You can almost picture the censor of the day's pencil hovering over some of the early scenes in the movie as they coyly play cat-and-mouse with one another, in particular one risqué exchange between the two stars with a double bed prominently featured in the background.
Walter Abel as Colbert's end-of-his-tether editor is rather clichéd but largely speaking, the parts of the lesser characters, such as Milland's two pilot chums and the hotel maid with family caught up in the confusion which add some shade and light to the main characters' motivations are well selected and portrayed.
I particularly appreciated the topicality of the depiction of very recent real-life events such as the sinking by German submarines of the cruise-liner Athenian taking Milland and Colbert back to the States and the montage of succeeding newspaper headlines documenting the at-the-time seemingly unstoppable march of the German Army.
Colbert later named this as her favourite of all her movies and I doubt that's just because the film ended up on the right side of history. It manages that tricky balancing act between comedy and drama in a contemporary setting and still finds room for an eloquent wake-up call to the rest of the world at its time of greatest need.
I think it works, aided naturally by the writing of the justly celebrated screenwriting partnership of Wilder and Brackett, capable direction of Mitchell Leisen and especially the on-screen chemistry of the emerging Ray Milland and the established Claudette Colbert. You can almost picture the censor of the day's pencil hovering over some of the early scenes in the movie as they coyly play cat-and-mouse with one another, in particular one risqué exchange between the two stars with a double bed prominently featured in the background.
Walter Abel as Colbert's end-of-his-tether editor is rather clichéd but largely speaking, the parts of the lesser characters, such as Milland's two pilot chums and the hotel maid with family caught up in the confusion which add some shade and light to the main characters' motivations are well selected and portrayed.
I particularly appreciated the topicality of the depiction of very recent real-life events such as the sinking by German submarines of the cruise-liner Athenian taking Milland and Colbert back to the States and the montage of succeeding newspaper headlines documenting the at-the-time seemingly unstoppable march of the German Army.
Colbert later named this as her favourite of all her movies and I doubt that's just because the film ended up on the right side of history. It manages that tricky balancing act between comedy and drama in a contemporary setting and still finds room for an eloquent wake-up call to the rest of the world at its time of greatest need.