JohnHowardReid Without any preliminary fanfare, Columbia launched one of 1940's most delightful entertainments. Once you overcame the manifold implications of a title like The Lady in Question, you were rewarded with an hour and twenty minutes of delectable domestic fare that was by turn droll, downright funny and slightly dramatic, but always irresistibly humorous. Director Charles Vidor has not only managed to keep his characters in situations that are plausible, but has imparted to the whole an infectious atmosphere of home and hearth. The screenplay by Lewis Meltzer represents an adroit translation of the French film by Marcel Achard which was released in New York in 1939 as Heart of Paris.Not the least of the film's virtues are its players. Brian Aherne contributes one of his finest impersonations as the blustering, good-natured owner of a Parisian bicycle shop who, upon being called as a juror, is so touched by the pathetic girl accused of murdering her lover that he holds out for her acquittal, then takes her into his family on the pretext that she is the daughter of an old classmate. His efforts to hide the girl's true identity from his wife, and then to thwart the romance which develops between her and his son, lead to many amusing (and touching) domestic complications. To attempt to give further details of the plot would be to do the film an injustice, for it springs to life out of situations of a sort which invariably seem frightfully dull in print.

Tom Sanchez Having read all of the posts about "The Lady in Question", I can understand how disappointed some people would be, expecting either a Rita Hayworth-Glenn Ford vehicle, a la "Gilda" or a faithful replica of it's source: the French film, "Gibouille". This doesn't take away that "The Lady in Question" is an entertaining film with an odd, curious yet sweet charm that comes upon one quietly and lingers long after the film is over.Two of the posters regarded "The Lady in Question" as a pallid remake of "Gibouille". Having seen some pre-WWII French films, they were not greatly more explicit than Hollywood was, at the time, in dealing with sex and crime. "The Lady in Question" is a mild comedy-drama made by a studio that was well-equipped to handle such material, Columbia Pictures. Director Charles Vidor, a Frenchman himself, nicely, subtly, and lingeringly establishes time and place. It greatly allows for the suspension of disbelief of hearing perfect English accents on French characters.This film showcases Brian Aherne, who all too rarely was showcased at all, let alone in a comedy that he carried. He plays Morestan, the bicycle shopkeeper, admirably and almost succeeds in making one believe he was a middle-aged shopkeeper. He has just the right light tone to unify what is a mild plot and a minor-A film. Yes, studios didn't always make big-budget films with their stars. Many of their films, including "A" pictures, were "programmers", films that showcased stars and promising contract players. This, "The Lady in Question" did.The players do shine, even though this film is an early entry for future stars Rita Hayworth, Glenn Ford, and Evelyn Keyes. In what could've been a merely decorative role, Hayworth truly has that "lady of mystery" quality that not only holds your attention but, momentarily, keeps one guessing as to whether or not she was guilty. Glenn Ford plays what would've been a callow juvenile with earnestness, a convincing portrait of young lust/love, and just enough vulnerability to make his love/suspicion relationship with Hayworth's character believable. Everyone acquits (pun intended)themselves very well in this film. Since the American film industry doesn't put out "programmers" anymore and we, as a public, are conditioned to see most star vehicles as big-budget affairs, it's a lost art but a beautiful one to sit, savor, and merely enjoy a well-crafted, entertaining film that isn't about anything special but delivers.

inframan Where to start? They took an earthy classic French face (Gribouille) & timidly translated it into faux Oscar Wildeian summer stock frillery. Brian Aherne becomes Raimu & Rita Cansino Hayworth becomes Michele Morgan. Glen Ford (14 years Aherne's junior) plays Aherne's son.Aherne was about 38 when he made this, a handsome, debonair lightweight matinée idol (who allegedly was the object of Noel Coward's song, Mad About the Boy). Nice fellow, but a real travesty in this part. Whose fault? Probably the director, Alexander Korda, because the rest of the cast is just as bad, Irene Rich, Evelyn Keyes, Lloyd Corrigan (?).What they forgot when they bought this property is farce is not just about manners & plot, it's about character & culture.Ah well, Ford & Hayworth would grow up & make Gilda 6 years later. Same director!

Noirdame79 A charming, cute movie, the first to pair Rita Hayworth and Glenn Ford, directed by Charles Vidor. Brian Aherne is funny and touching as Andre Morestan, the family man who finds himself a jury member on the case of young Natalie Roguin (Hayworth) accused of murdering her lover. After she is acquitted, Andre takes pity on the poor girl and gives her a job in his bicycle shop, as well as providing room and board, but concealing her true identity from his family. His son, Pierre (Ford), however, knows who she is as he stole into the courthouse one day during the trial. His obvious attraction to her is sweetly presented, with his clattering case of butterfingers. Only when he begins to suspect that she is having an affair with his father, does he reveal that he knows her true identity. After the misunderstanding is cleared up, the young duo fall in love, but Andre's opposition, as well as Natalie's fear of her true identity being revealed, puts a strain on the situation. Things change for the worse when the ne'er do well fiancée, Robert (Edward Norris) of Pierre's sister Francoise (Evelyn Keyes, best remembered as Scarlett's whiny sister Suellen in GWTW), makes advances toward Natalie when he discovers the truth. Then Natalie's innocence comes into question in Andre's mind, until he learns that there is new evidence that Natalie indeed acted in self-defense. A happy little ending wraps up about an hour and a half of this interesting little gem. Irene Rich is great as Michele Morestan, wife and mother, who provides warmth and wisdom.The chemistry that Hayworth and Ford would go on to display in four more films is very apparent here; their scenes together are adorable, boil over with chemistry, and it is little wonder that they went on to become one of the great romantic screen couples, as well as stars in their own right. And Aherne regarded this as one of his favorite films - and it's easy to see why!Needs to be on DVD.