It's entertaining suspense with lively lines and conversations, even discourse on law and justice --- fugitive scenario with the ever radiant Jean Arthur as the spunky heroine in the whirl of it all.
Suspenseful tale touching on society's reactions to law and order, yet comedic with subtle hints of romance, delivered in polished words and flowing pace -- thanks to the wonderful trio of Cary Grant, Jean Arthur and Ronald Colman -- humor not missing a beat even at the critical moments. Simply well-crafted direction by George Stevens, optimizing a sharply written script by Irwin Shaw and Sidney Buchman, based on Sidney Harmon's story. It's absolutely delightfully enjoyable.
Cary Grant is Leopold Dilg, the fugitive. Jean Arthur is Nora Shelley, a schoolteacher whose house becomes the hideout for Leopold. Ronald Colman is Professor Lightcap who happens to arrive on the scene to occupy Miss Shelley's house for summer rental. Such crisp delivery: using newspaper headlines flashing across the screen, the first 5 minutes -- short of 2 brief spoken lines -- set the atmosphere and tone of the story simply by what we see on screen (enhanced by music). The ending was just as succinct in few spoken words -- well-edited character expressions and the quick cut scenes were effective vs. using dialog. Music essentially complements the unfolding plot -- sometimes spices up the tempo of the film.
No words are wasted here. No foul language (an occasional "darn" perhaps), no gratuitous action/violence, no car chase (a just as exciting dogs-chasing-man scene there is). Wit, charm and humor abundantly applied. The film also attempts to have a moral message (not at all preachy) on how everyone should treat law and order. It presents questions (serious and light): "Why does man lie?" "If you want to get information out of a woman, how do you go about it?" "What are extenuating circumstances about the law?" and not forgetting a pun or two: "Your cold will thaw. Everything thaws." Lively lines with comedic pacing are blended into the precarious situations of the storyline with flowing humor.
Every supporting role has his/her particular part in the grand scheme of things and each little scene is flawlessly integrated into the plot. It's wonderful to watch this film. Rarely do we have a suspense that's so very entertaining -- comedic and romantic, too -- all wound together into 1:58 length -- colorfully presented in Black and White. Simply timeless. MUST-SEE classics this is. Made in 1942, the subject of law and order still applies today.
Other B/W timeless pieces with Jean Arthur, the ever energetic talking-continuously-in-one-breath heroine, are three from Frank Capra: "Mr. Deeds Goes to Town" 1936 with Gary Cooper, "You Can't Take It with You" 1938 with James Stewart, and "Mr. Smith Goes to Washington"1939 with James Stewart encore.
More B/W gems with Cary Grant besides the Hitchcock classics, and the famous George Cuckor's "The Philadelphia Story" 1940 with Katharine Hepburn and James Stewart, are: Cuckor's "Holiday" 1938 with K. Hepburn, Howard Hawks' "Bringing Up Baby" 1938 also with K. Hepburn, Joseph L. Mankiewicz's "People Will Talk" 1951 with Jeanne Craine.
Albert Lewin's "The Picture of Dorian Gray" 1945, based on a novel by Oscar Wilde, is yet another rare gem of B/W classics, somehow with (necessary) true color segments included. Intriguing contemplative tale.
Suspenseful tale touching on society's reactions to law and order, yet comedic with subtle hints of romance, delivered in polished words and flowing pace -- thanks to the wonderful trio of Cary Grant, Jean Arthur and Ronald Colman -- humor not missing a beat even at the critical moments. Simply well-crafted direction by George Stevens, optimizing a sharply written script by Irwin Shaw and Sidney Buchman, based on Sidney Harmon's story. It's absolutely delightfully enjoyable.
Cary Grant is Leopold Dilg, the fugitive. Jean Arthur is Nora Shelley, a schoolteacher whose house becomes the hideout for Leopold. Ronald Colman is Professor Lightcap who happens to arrive on the scene to occupy Miss Shelley's house for summer rental. Such crisp delivery: using newspaper headlines flashing across the screen, the first 5 minutes -- short of 2 brief spoken lines -- set the atmosphere and tone of the story simply by what we see on screen (enhanced by music). The ending was just as succinct in few spoken words -- well-edited character expressions and the quick cut scenes were effective vs. using dialog. Music essentially complements the unfolding plot -- sometimes spices up the tempo of the film.
No words are wasted here. No foul language (an occasional "darn" perhaps), no gratuitous action/violence, no car chase (a just as exciting dogs-chasing-man scene there is). Wit, charm and humor abundantly applied. The film also attempts to have a moral message (not at all preachy) on how everyone should treat law and order. It presents questions (serious and light): "Why does man lie?" "If you want to get information out of a woman, how do you go about it?" "What are extenuating circumstances about the law?" and not forgetting a pun or two: "Your cold will thaw. Everything thaws." Lively lines with comedic pacing are blended into the precarious situations of the storyline with flowing humor.
Every supporting role has his/her particular part in the grand scheme of things and each little scene is flawlessly integrated into the plot. It's wonderful to watch this film. Rarely do we have a suspense that's so very entertaining -- comedic and romantic, too -- all wound together into 1:58 length -- colorfully presented in Black and White. Simply timeless. MUST-SEE classics this is. Made in 1942, the subject of law and order still applies today.
Other B/W timeless pieces with Jean Arthur, the ever energetic talking-continuously-in-one-breath heroine, are three from Frank Capra: "Mr. Deeds Goes to Town" 1936 with Gary Cooper, "You Can't Take It with You" 1938 with James Stewart, and "Mr. Smith Goes to Washington"1939 with James Stewart encore.
More B/W gems with Cary Grant besides the Hitchcock classics, and the famous George Cuckor's "The Philadelphia Story" 1940 with Katharine Hepburn and James Stewart, are: Cuckor's "Holiday" 1938 with K. Hepburn, Howard Hawks' "Bringing Up Baby" 1938 also with K. Hepburn, Joseph L. Mankiewicz's "People Will Talk" 1951 with Jeanne Craine.
Albert Lewin's "The Picture of Dorian Gray" 1945, based on a novel by Oscar Wilde, is yet another rare gem of B/W classics, somehow with (necessary) true color segments included. Intriguing contemplative tale.