JohnHowardReid Claudette Colbert's first film as a free-lance artist. She declined to renew her Paramount contract, stating that she wanted to have the freedom to choose her own roles at whatever studios were prepared to pay her price — $150,000 per picture. "I have worked hard to attain both economic and artistic freedom. Now I am going to do what I wish."What Claudette didn't say was that a lot of her dissatisfaction with Paramount arose not from the studio's choice of her films, but from the way they were possibly to be photographed. Like Marlene Dietrich, Claudette Colbert was a fanatic on lighting and camera angles. Unfortunately, whereas Marlene had an expert knowledge of cinematography, Claudette had not. But she knew what she liked, and what she did not. She insisted — despite evidence to the contrary — that the left side of her face photographed more attractively than her right. Thus she would never allow herself to be photographed in any other direction but facing left. You think I'm kidding? I have William K. Everson's book on Claudette in my hands right now. In every single one of the 58 photos reproduced from pages 74 through 144, Colbert is facing or looking left. In all but six of these photos, she stands or sits at the extreme right hand side of the picture. We have to go right back to 1934 where "It Happened One Night" to find a still of Claudette facing slightly to the right.Colbert felt that if she stayed at Paramount, her turn in front of Seitz's camera was bound to arrive sooner or later. And Seitz was not a photographer who would take "suggestions" from anybody - not even the producer or the director, let alone a member of the cast! Claudette was unwilling to face this confrontation. Who will blame her? This gave her yet another reason not to sign again with her former employer, but to free-lance.For her first independent vehicle, she chose to go with the sort of role at which she was especially adept: — the loving girl who is forced to act out a phony part in order to attract or keep the man she really loves. Light, romantic, fluffy stuff in which a series of misunderstandings and complications are winsomely spun out for eighty minutes or so and then majestically resolved in five or ten. To keep herself the center of attention, the heroine of this airily elegant romance — these stories always take place in the most opulent surroundings — needs at least two leading men, plus a chorus of disapproving elders. Don Ameche, a little inclined to over-do the double takes and facial mugging, provides one corner of the triangle, whilst Dick Foran (here rather oddly billed as "Richard Foran" instead of the more familiar "Dick") holds up the other most ingratiatingly. The disapprovers include such masterful cameo players as Grant Mitchell, Charles Dingle, Edward Gargan and Chester Clute — the last in one of the funniest roles of his career as an inquisitive shoe salesman. Director Sam Wood keeps the mixture of bedroom farce, light romance and comic cut-ups frothing merrily and stylishly.

Alex da Silva Dick Foran (Christopher) is happily married to Claudette Colbert (Mary) but will do anything for pal Don Ameche (Joe). Ameche needs a wife to impress his boss and so Chris lends him Mary. Hilarity ensues. Or does it? I'll answer that right now – no it doesn't. This is a weak and boring comedy. I fell asleep because it was so dull. Foran is a complete duffus that you can't relate to and Colbert plays it as a silly schoolgirl acting out juvenile frolics. The relationship between Foran and Ameche is based on some kind of retarded fraternity bonding whereby they play immature games with each other for one-upmanship – a kibble. We are subjected to this stupid notion of a kibble on several occasions and it really wound me up. There are rare moments of comedy that actually work but it's all under par given the cast. Pretty boring stuff.

writers_reign I find it interesting that whenever something like this crops up on television (as this has just done) we tend to over appreciate it because of what it is up against in terms of contemporary film-making. Thus, compared to the insipid still water that masquerades as romantic comedy today this entry from 1945 sparkles like vintage champagne whereas in its own time it was just one of dozens of similar quality and may well have got lost in the shuffle. Colbert and Ameche were old hands at pretending to be married, they did it in Midnight in 1939 and what's more they did it to a Billy Wilder screenplay which even Mitchell Liesen couldn't ruin, a screenplay that leaves this one dead in the water but, as noted, so starved are we in the oughties for even half decent sophistication we are in danger of mistaking bling for a Faberge egg. Colbert steals it, of course, going away, Ameche is competent and since presumably Ralph Bellamy was working elsewhere Dick Foran makes a reasonable fist out of the Bellamy role as the 'nice' husband who allows Ameche to 'borrow' his wife in order to convince his (Ameche's) boss that he is, in fact, married. In Midnight pretend marriage led to real nuptials and it's a nice twist that here Colbert and Foran ride into the sunset together. Highly entertaining.

bob the moo Married couple Chris and Mary are about to set out for a second honeymoon whenever Chris's old friend Joe comes to town. Mary doesn't like Joe because he always brings trouble and this time is no exception. It seems that Joe has been using a fictional wife to improve his job prospects – even sending pictures of his wife and letters from her to his boss to impress upon him what a great guy he is (in the eyes of his fictional wife). However when his employers request the presence of Mrs Parker in New York, Joe has to ask Mary to stand in. Being a good friend Chris says yes and, with him stuck in town, Mary and Joe head off together, apparently oblivious of the sheer amount of problems that they will create.The basic idea behind this plot means that it is the Mary and Joe that have the best chemistry and spend the most time together on screen, this is a risk that it takes because it means the audience could have felt more for them as a couple rather than Chris as Mary's husband. This would have been a disaster (particularly at the time of release) but the film manages to keep it fresh and keep us engaged in the marriage while also enjoying the sparks between Joe and Mary. It cleverly makes a game to excuse the chemistry and stops us worrying about whether real love is blossoming or not. By doing this it keeps it light and enjoyable, consistently amusing and occasionally laugh out loud funny thanks to some sharp lines and jokes.The cast match this effortlessly. Colbert has great fun with an increasingly playful role that shapes the film and the other characters; she is the lead and her comic performance is great. Ameche also changes across the whole film as well, going from playboy to "rabbit in headlights" easily and convincingly. Foran has the hardest role in terms of engaging the audience but he does pretty well with a rather simple lug of a character. Support from people like Dingle, Mitchell, Bacon and others in minor roles all help the generally comic air come over consistently.Overall this is a bit of a balancing act and it is to its credit that it manages to pull it off and keep the audience onside. It is all light, fluffy stuff of course but it is surprising just how enjoyable it is if you are in the mood for it. If you're looking for something inconsequential and fun then you could do a lot worse than trying this film.