I was inspired to think of other films with completely mystifying titles. `The Phantom Menace', obviously. Also: `The Shop Around the Corner' (around the corner from WHERE?), `The Empire Strikes Back' (it doesn't), `The Living Daylights', `True Lies', `Batman Forever', `Species', `The Life and Death of Colonel Blimp' ... if anyone has any more suggestions, please send them to me.
In this case, it happens over several nights, and I'm not sure which particular night is being referred to. Probably one of the candidate nights is less unobvious than the rest; so I guess the title isn't COMPLETELY mystifying. But actually, Capra gives us the feeling that everything is up in the air. Everyone knows that the hero and heroine of romantic comedies are bound to get hitched in the end - in most cases it's simply a question of staying awake. But Capra makes us feel the contingency of it all. I, for one, was convinced that right up until the final moment, it could have gone either way. How did Capra manage this? Was it because he was a complete innocent; or was it because he was remarkably sophisticated? I don't suppose it matters: it's results that count.
I'm glad to see very little mention among the comments about the sexism of it all. The characters have life; their words have life; and if such art as this could only be produced by a sexist society, it's almost worth creating a sexist society (and then dismantling it), in order to get the art. In modern romances I get the feeling that the writers are wearily writing `feisty' lines for the heroine in an attempt to fool feminists, who, by and large, aren't so easily fooled. Claudette Colbert isn't feisty. When she DOES assert her independence, she means it.
(And, of course, when Clark Gable asserts his dominance, HE means it. You don't get sincerity like this these days.)
Anyway, the ideology of a film, if there is one, is always beside the point, except inasmuch as the ideology is AESTHETICALLY attractive or unattractive. This is an attractive film. Two real individuals, a real story, some misunderstanding but no tiresome or pointless misunderstanding, constant wit - and, as I expressed amazement at earlier, constant suspense. And if THAT isn't enough to get you to watch it, note that it was released in 1934. The Hayes code didn't come into effect until 1935. Not a moment too late.
In this case, it happens over several nights, and I'm not sure which particular night is being referred to. Probably one of the candidate nights is less unobvious than the rest; so I guess the title isn't COMPLETELY mystifying. But actually, Capra gives us the feeling that everything is up in the air. Everyone knows that the hero and heroine of romantic comedies are bound to get hitched in the end - in most cases it's simply a question of staying awake. But Capra makes us feel the contingency of it all. I, for one, was convinced that right up until the final moment, it could have gone either way. How did Capra manage this? Was it because he was a complete innocent; or was it because he was remarkably sophisticated? I don't suppose it matters: it's results that count.
I'm glad to see very little mention among the comments about the sexism of it all. The characters have life; their words have life; and if such art as this could only be produced by a sexist society, it's almost worth creating a sexist society (and then dismantling it), in order to get the art. In modern romances I get the feeling that the writers are wearily writing `feisty' lines for the heroine in an attempt to fool feminists, who, by and large, aren't so easily fooled. Claudette Colbert isn't feisty. When she DOES assert her independence, she means it.
(And, of course, when Clark Gable asserts his dominance, HE means it. You don't get sincerity like this these days.)
Anyway, the ideology of a film, if there is one, is always beside the point, except inasmuch as the ideology is AESTHETICALLY attractive or unattractive. This is an attractive film. Two real individuals, a real story, some misunderstanding but no tiresome or pointless misunderstanding, constant wit - and, as I expressed amazement at earlier, constant suspense. And if THAT isn't enough to get you to watch it, note that it was released in 1934. The Hayes code didn't come into effect until 1935. Not a moment too late.