Meine geschiedene Frau

The merit of this film is that it preserves for posterity one of Broadway's longest running comedies, with only minimal changes from the stage version. That is not an insubstantial contribution, and the movie deserves credit for letting us experience much of what 1,572 Broadway audiences witnessed.

That said, there is something impenetrable about watching Debbie Reynolds looking positively gorgeous as she tells Michael Rennie of the trials and tribulations of being a "plain" girl and woman. The part of Mary was written for Barbara Bel Geddes, who fit that dialogue perfectly (see her Midge in "Vertigo"). Debbie, on the other hand, was simply too radiant to give credibility to a character who supposedly compensated for insecurity about her looks with unceasing wit.

As a child who preferred to watch television by the hour, this & other old movies still hold my attention. The quick wit, the substance, never disappoints. The characters were well rounded, the cast drew you into the humanity of the mores of the time before the Beatles. Before America lea-pt into the more modern age of color and a loosening of morals. The quote I remember Barry Nelson uttering the morning after a night of too much drinking, "Now that's real coffee." The reason I found it funny is the fact he was referring to the cigarette he was smoking. The movie was fast paced with good continuity. It was the humor of the day--not crude--and it was swell.

I'm very fond of this film. Debbie Reynolds stars as a woman trying to settle the final details of her divorce from her husband -- a man she's separated from, but with whom she still has great chemistry. Their potential reconciliation gets both hampered and facilitated by the husband's new girlfriend, an attractive society girl, and by a handsome actor who takes a fancy to Debbie. In certain ways this is a slight movie -- like a play, it's all talk, not much action -- but the wit and charm of the actors make it a lot of fun. It's an intelligent, bubbly little romantic comedy; I'd recommend it to anyone who likes that genre.

Yes, it is obviously based on a play. Director Leroy has made no attempt to open it up, but this adds to it's effectiveness. It concentrates on the characters and the very witty dialogue. It's greatest strength lies in the outstanding performance by Debbie Reynolds in the title role. It is unlike anything she had done before and combines intelligence, wit and an amazing vocal technique. She tosses off great one-liners with relish and proves an admirable partner for co-star Barry Nelson. He had been in the original Broadway cast, and brings his own brand of understated comic playing to the role. Michael Rennie has a lovely time, sending himself, (and Hollywood), up. Wit is sadly in short supply in today's comedy movies so it is a pleasure to see this beauty again. The play's author Jean Kerr, was reportedly very happy with with this adaptation. Thanks to Miss Reynolds and company, so should you. That is, if you like the adult, witty approach to comedy!

Recently-divorced couple in New York City, he a book publisher and she a magazine column editor, are reunited for tax reasons and find that old spark still burning beneath the constant insults. Freely adapted from Jean Kerr's popular play, this trite material relies heavily on the dropping of famous names and places to help fill in the backgrounds of these otherwise-unreal characters (as soon as Debbie Reynolds enters, we learn that she shops at Schraff's and spends endless hours at Elizabeth Arden). This is the kind of 'cozy' movie wherein everybody has money and free time to spare, but no looming work schedule. Reynolds breathlessly keeps pace while seemingly channeling Bette Davis; it's not a bad performance, however the clucking, one-dimensional writing leaves Reynolds without the shape or the semblance of a real woman to play. The male suitors on hand (Barry Nelson as the former hubby and Michael Rennie as a movie idol) do what they can, though neither seems particularly well-suited to Debbie, and their constant back-and-forth verbal bouts are tiresome. The film is dizzyingly claustrophobic, while the few funny bits are almost buried by the plastic set-up and inert direction. ** from ****