Jealousy is an artifact from the days of the cavemen. Modern man, rational man, has no use for its emotional baggage. So says Professor John Hathaway (Don Ameche), who leaves his teaching position to publish his book on the topic of jealousy. His wife, Julie (Rosalind Russell), backs him and supports his theories, but his total lack of jealousy infuriates her at times.
Publisher Elliott Morgan (Van Heflin) pursues Julie, to the consternation of Nellie (Kay Francis), who is stuck on Elliott. Julie is not interested in the goateed lothario, but she is upset that John totally trusts her and feels no jealousy. The result is a series of unpredictable events.
This film was released just before the U. S. involvement in WWII. It has an unusual narrative, perhaps because three writers wrote the screenplay. Perhaps one wrote the first draft, a second fine-tuned it, and a third added his own touches. The story feels choppy, the tone is inconsistent, and the characters sometimes do things out of character. Plot points are often loosely connected.
And the script would have us believe that all men, without exception, find Julie irresistible. Rosalind Russell was a huge star in 1941, but this premise is a stretch.
The odd mix of screwball comedy with philosophical discussions of fidelity and jealousy is strange.
Give credit to Russell and Francis, in particular, for effectively navigating their ways through the confusing emotional journeys of their characters. Otherwise, this film would be a total mess. The slight mess that it is does not prevent some enjoyment of the film.
Publisher Elliott Morgan (Van Heflin) pursues Julie, to the consternation of Nellie (Kay Francis), who is stuck on Elliott. Julie is not interested in the goateed lothario, but she is upset that John totally trusts her and feels no jealousy. The result is a series of unpredictable events.
This film was released just before the U. S. involvement in WWII. It has an unusual narrative, perhaps because three writers wrote the screenplay. Perhaps one wrote the first draft, a second fine-tuned it, and a third added his own touches. The story feels choppy, the tone is inconsistent, and the characters sometimes do things out of character. Plot points are often loosely connected.
And the script would have us believe that all men, without exception, find Julie irresistible. Rosalind Russell was a huge star in 1941, but this premise is a stretch.
The odd mix of screwball comedy with philosophical discussions of fidelity and jealousy is strange.
Give credit to Russell and Francis, in particular, for effectively navigating their ways through the confusing emotional journeys of their characters. Otherwise, this film would be a total mess. The slight mess that it is does not prevent some enjoyment of the film.