Meine geschiedene Frau

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.

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!

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.

Although Mary Mary could have used a bit of editing, it's about a half hour too long in its running time, the wit of Jean Kerr's Broadway hit is kept over for the film version. The major player cast of five starts running on fumes at the 3/4 pole.

Playwright Jean Kerr was married to Walter Kerr the New York Herald Tribune drama critic and their married life was told in Please Don't Eat The Daisies. What can be better than a writer married to a critic. You can always get expert help to smooth over the rough spots. And you are guaranteed a good review in the Herald Tribune.

Mary Mary hadn't finished its Broadway run of 1564 performances when it was filmed and released. Barry Nelson who repeats his role from Broadway is a publisher who has divorced his first wife and about to marry rich debutante Diane McBain. He may be divorced in the eyes of God and the divorce court, but getting untangled tax wise is another matter. He's in a huddle with his accountant Hiram Sherman who took the liberty of inviting ex-wife Debbie Reynolds for help in separating their finances and figuring out the proper deductions.

Also arriving is Hollywood actor Michael Rennie who's taken an interest in Debbie. Nothing like that to get the ex-husband jealous even though he's the publisher of Rennie's spicy memoirs. I think Rennie is somewhat based on the late Errol Flynn. Certainly his memoirs might also have been called My Wicked Wicked Ways. Rennie also repeats his role from Broadway.

Mervyn LeRoy gets the best he can from his cast and certainly no complaints here about replacing Barbara Bel Geddes from Broadway with Debbie Reynolds for some box office insurance. Debbie is at her perkiest and matches wits with the rest of the cast including her rival McBain.

Though it's not mentioned it's no accident that Nelson is ready to marry McBain who comes off like a rich younger version of Debbie Reynolds. Might have been nice to have a musical number for Debbie in the film.

Not a great film, but Mary Mary is good version of an early 60s Broadway hit.

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.