Tres contra todos

A farcial, grown-up rom-com, very typical of its period, the early forties, and what might be called a prestige production. Cary Grant is the escaped convict and suspected arsonist, Ronald Colman is the stuffy law professor who comes to his aid and Jean Arthur, the girl who is the object of both their affections. George Stevens was the director at a time when a George Stevens movie was a sure sign of quality and he draws terrific performances from all three leads. He also succeeds in subverting the semi-serious plot to great comic effect, making this one of the most enjoyable pictures of 1942, (it was nominated for seven Oscars). Not seen much these days but it cries out for a good revival.

George Stevens had the ability to make truly memorable films out of lightweight material. "The Talk of the Town" and "The More the Merrier (1943)" were two early-40s projects that teamed Stevens up with the adorable Jean Arthur. Both would probably have been forgettable pseudo-comedies had Stevens not directed them with such a sure hand.

"Town" is a sort of strange hybrid--part screwball comedy, part political activist film. Its screenplay could probably be a little tidier, but I'm not going to complain, because I loved this movie. Cary Grant and Arthur were a terrific match for one another, and Ronald Colman makes a perfect straight man for the both of them. He plays a stuffy professor staying in Arthur's country home while he devotes himself to work. Grant shows up on the lamb for some political activism that got him in trouble, and the movie is devoted to Arthur's and Grant's antics as they first try to hide Grant's identity from Colman and then try to enlist Colman in their populist cause.

This is a great and not especially well known film from the war years. Set aside some time to enjoy it and I'm sure you won't be disappointed.

Grade: A

A strong cast with two leading men, comedic moments, and intelligent commentary on justice in America all make this a very good film. Cary Grant is a man in jail in a small town on trumped up arson charges, and Ronald Colman is an eminent legal mind who is just arriving there to work on a book. Grant escapes to the home of his old friend Jean Arthur, and Colman shows up the same night to begin renting it from her. Grant is hidden away in the attic for awhile, but soon strikes up a friendship with Colman while pretending to be Arthur's gardener, and the pair engage in some interesting debates on justice and the law. Colman represents the viewpoint of the dispassionate letter of the law, while Grant cautions that such thought is too idealistic for the way justice is often administered. As a mob has been whipped up into a frenzy against him by the local corrupt businessman whose factory burned down, he ought to know.

Grant and Colman are given equal chance to charm us and shine, and they do. Arthur more than keeps up them, delivering her lines so naturally, and she's delightful. The film keeps us guessing as to who she may end up with, as both men are attractive in their own way. I loved seeing a little bit of darkness and danger in Grant here, as well as moments of charm, such as when he widens his eye and assures Arthur that they won't recognize him from the photograph on a Wanted poster, because they hadn't captured his spirit.

The film gets a little heavy-handed in some of its messaging as the film plays out, but I was swayed by just how relevant it is in the times of today's populism. The danger of the mob being manipulated by someone who is corrupt (how can one not think of 'lock her up' while watching that today?), the danger of rushing to judgment instead of listening to the facts and the evidence, and the need to fight for principles were certainly appropriate in 1942, but they're also timeless. Rex Ingram is strong as Colman's servant, including a moment where he gets choked up watching Colman shave off his beard. It seemed a rather odd to me at the time, but since it means Colman is going to fight for justice in this particular case, going against the mob, it may be that Ingram relates this to countless mobs lynching African-Americans, with no one standing up for them.

The film has a few moments where you have to suspend disbelief, but I enjoyed it for its intelligence, and added dimension to what otherwise would have been a standard comedy or romantic comedy. It's a film that will charm you one moment, and make you think the next, and that's not bad.

Here's a quote from Colman's speech to the mob: "This is your law and your finest possession - it makes you free men in a free country. Why have you come here to destroy it? If you know what's good for you, take those weapons home and burn them! And then think... think of this country and of the law that makes it what it is. Think of a world crying for this very law! And maybe you'll understand why you ought to guard it. Why the law has got to be the personal concern of every citizen. To uphold it for your neighbor as well as yourself. Violence against it is one mistake. Another mistake is for any man to look upon the law as just a set of principles. And just so much language printed on fine, heavy paper. Something he recites and then leans back and takes it for granted that justice is automatically being done. Both kinds of men are equally wrong! The law must be engraved in our hearts and practiced every minute to the letter and spirit. It can't even exist unless we're willing to go down into the dust and blood and fight a battle every day of our lives to preserve it. For our neighbor as well as ourself!"

Hallelujah.

Talk of the Town is a good movie! It is well written with witty and interesting, sometimes even surprising dialogue. It is well directed and well played. Even the score is really good (I am not sure if both John Williams and Frederick Hollander borrowed or it was just Williams who borrowed form Hollander for Star Wars). I grew fond of Roland Coleman through this movie, he is simply debonair. Sure, the preaching toward the end of the movie is a bit thick, but it is in character… and should you listen closely you would find that the message is as relevant today as then. And about the love triangle plot… It keeps you guessing till the last moment (only one other movie successfully does the same: Casablanca). Talk of the Town is an intelligent and endearing mix of comedy and drama, it does not use comedy only for the introduction but keeps it up, in parallel to the drama, well through the movie; in that it is remarkable. To say the least it did not deserve to be forgotten, for it does what movies do best: give you a good time.

Cary Grant is Leopold Dilg, "The Talk of the Town," in this 1942 film also starring Ronald Colman and Jean Arthur. The outspoken Digl is framed for arson and murder and escapes from prison. He ends up in the home of a schoolteacher he's known since childhood, Nora Shelley. She's preparing her home to be rented the next day - except the renter, an attorney named Professor Lightcap (Colman) shows up right then. Since Leopold has a bad ankle, Nora lets him hide in the attic. Though Lightcap wants peace and quiet to write a book, things don't quite happen that way. Nora insists on being his secretary/cook - because she has to take care of Leopold - and every time Lightcap turns around, there's Nora's mother, the police looking for Dilg, furniture deliveries and a delivery of all of Nora's clothing - before he agrees to hire her.

Nora and Dilg's attorney Yates (Edgar Buchanan) attempt to drag the brilliant ivory tower attorney into the unfair assumption of guilt of Dilg, but Lightcap refuses. His type of justice, it seems, is all on paper. He doesn't want to get involved with any real people. Leopold, posing as the family gardener, gets into some heated discussions with him, and at Leopold's urging, Nora gives Lightcap special attention. But is any of it enough to make him cave and help Digl?

This is a grand comedy with very serious undertones. Who would ever expect two of the most elegant men in film history, Grant and Colman, to be facing off in a comedy, no less, where one of them is very definitely NOT elegant. Grant is terrific, a truly great actor who rarely let his audience see anything but the famous "Cary Grant" persona. Here, he's a man of the people with a clumsy walk and casual clothes. His pantomime to Nora through his attic window of wanting something to eat is hilarious. The bearded Colman plays the role of a stuffy professor very straight. Lightcap is barely able to stand the chicanery of Nora's household at first, as he has a strict routine. Fast forward and he's flirting and dancing with a smart-mouthed beautician (Glenda Farrell) in order to pump her for information about her boyfriend. His acting, particularly his courtroom speech toward the end of the film, is magnificent. Arthur plays Nora as a dizzy, confused and nervous woman, completely thrown as a landlord, a friend and a woman by the appearance of Leopold and the brilliance of Lightcap, as well as his admiration of her. She's torn between the two of them - and keeps the audience wondering.

Really a must-see for the lesson that true justice must be not read, not preached, but lived and for the wonderful characterizations and direction by Stevens.