Jeder hilft sich wie er kann

I truly love this wonderful,endearing romantic comedy from Hollywood's golden age. It has a unique setting - Washington D.C. during the housing shortage caused by World War II, and gets great comic mileage out of the various problems caused by the situation. George Stevens handles it all superbly, but what you remember most are the three charming leads. Charles Coburn justifiedly won a Best Supporting Actor Oscar for his scene-stealing panache as the elderly Cupid who helps steer Jean Arthur and Joel McCrea towards love. McCrea was an unsung but marvelously effective leading man in the 30's and 40's - rather like Jeff Bridges has been in his career. He's very fine here, and also in the movies he made for Preston Sturges. And Jean Arthur is at her very best - another great who doesn't get enough respect nowadays. Its difficult not to fall in love with her in this film - even if you were blind, her voice alone would knock you off your feet! Its ridiculous that this was her only oscar nomination-but then she, along with Carole Lombard and Irene Dunne were Hollywood's screwball comedy queens, and Hollywood was too busy rewarding the likes of Greer Garson and Luise Rainer.

One of the greatest romantic comedies ever. The main characters are funny and likable (Joel McCrea is one of the forgotten great romantic comedy leading men of the '30's and '40's), the dialogue is wonderful, and the sense of the period is exact. Two great scenes: 1) McCrea and Arthur on the steps of her apt., he groping her, she fending him off without turning him off--hilarious and sexy; 2) At a factory, a long, long line of women workers is clocking out of work, a male worker (apparently there weren't many) walks toward them, becoming more apprehensive and walking faster as he runs the gauntlet of the women's hoots and hollers (talk about turning the tables)--no revisionism needed here, a primary source for the depiction of the burgeoning of feminism during WWII.

This movie, set in Washington, DC during the early years of the US' involvement in WWII, when DC was still a relatively small city, is sociologically fascinating: the back story is the housing shortage that occurred when everyone descended on the nation's capital in order to organize the country in preparation for war. But the real story is the incredible script, directing (George Stevens) and, most of all comedic acting by Joel McCrea (always the tall, handsome, slightly cynical straight man (whose straightness itself can be hilarious)), Jean Arthur (whose voice I could listen to forever), and, WOW, Charles Coburn as a flustered wealthy tycoon who plays cupid while trying to help solve the country's pressing problems. The comedy is relentless, absolute hilaritas, and it gets zanier by the minute. Very few weak spots in this relatively unknown comedy. Seeing this recently, and a couple of other McCrea comedies directed by Preston Sturges, you have to wonder why Cooper got all the glory while McCrea was frequently relegated to the second tier (despite major box office draws for more serious wartime work).

I'm tickled pink every time I watch this film. Charles Coburn plays a meddling businessman who invades the apartment of a young woman during WWII's Washington D.C. housing crisis. The trio cast including Jean Arthur and Joel McCrea is stellar. This is a doting film that takes its time with details, yet is warmly effective. The chemistry between Arthur and McCrea is heart pounding (especially the side walk scene!) The magic shared between them permeates the screen. (There's something about McCrea that makes a girl want to fall into his lap.) Coburn's antics as the sly matchmaker are hilarious. "The More the Merrier" is cleverly written and humorously acted. For classic film lovers, this one's a gem.

The first half-hour is a triumph of comedic architecture. The screen fairly crackles with madcap antics as Jean Arthur tries to keep an over-crowded national capital from crowding into her bedroom. Coburn may look unthreatening but he's expert at maneuvering. Just listen to him fast-talk his way into her kitchen, her bathroom, and "full speed ahead", where will it stop. Then there's McCrea—an eligible man in a city full of lonely women. He's a definite threat, and if things weren't crowded enough, Coburn has shoe-horned him into what's left. What's a girl to do, living with two men, and engaged to a third. Oh well, it is Washington DC and it is wartime, so stick to the house schedule, and things will work out. Maybe.

Of course, they do, but not the way Arthur thinks. No wonder an unheralded 66-year old actor gets an Oscar for his performance. Coburn steals the show with his amusing and crafty Benjamin Dingle. It seems he's always one step ahead of everyone else, whether arranging housing plans or tearing down romantic walls. It's also an Arthur showcase, proving again what an expert comedic actress she was, while McCrea blends in nicely as the handsome straight man. However, once the romantic phase takes over and Coburn fades, the crackle stretches out into the merely cute.

Sure, some of the material has lost some of the edge to changing mores. Do single, working women still worry about reputation. For that matter, do men. Nonetheless, that first half-hour remains a gem of timing, scripting and staging, unaffected by passing years. If there was a brighter comedic exercise during those terrible war years, I haven't seen it.