El pobre ricachón

Dane Clark's hair remains a distraction; that any leading man should look like a cheap $5.00 party wig was provided as part of costuming/makeup shall forever remain a mystery. Whenever Dane appeared on screen it would appear a pompadour was glued about his head. Of the many romance comedies on TCM from the 1930s and 40s, this singular distraction of a leading man is comical in its own right.

This flick is a nice little post-war B-movie, with a John Garfield clone and Sidney Greenstreet.

Greg Wilson is a veteran, back and looking for something to do with his life. He meets up with J.P.Alden (Greenstreet), who offers to help him with his dream of owning a service station. In return, Alden only asks that he be allowed to help around the station.

Complications ensue, involving Alden's daughter, as Alden's true identity and situation become clear. Not "funny" complications, but a pleasant, "slice-of-life" sort.

I consider it particularly interesting because of the contrast of women's roles in this film and that of "Mother Is a Freshman" only two years later.

In this film, the female lead is spunky, self-assured, and fully capable... think Joan Crawford without the b**** attitude. Her clothing is loose and flowing, hair down and easy to care for, and her shoes are practical -- you could see her breaking into a run if the situation called for it.

In MIaF, however, we have a woman, played by Loretta Young, who is her polar opposite, and a precursor to 50s housewife "role model" -- helpless without a man, in tight skirts and high heels and with a Kim Novak type hairstyle that you would have to spend 3 days a week at the hairdressers to keep remotely decent looking.

I saw them back to back on a "classics" movie channel many years back, and the contrast made me particularly aware that Women's Lib did not *begin* in the 1960s, in fact it was simply *backpedalling* in the 1950s from where it had been in the 1940s.

The two together are an interesting view of the history of society which does not totally jibe with modern views of the Feminist movement, much as "Cimarron" does not gibe with modern views of Native American and Feminist relationships to society.

This light-hearted, lightweight comedy is also a romance, since the story revolves around the (far-fetched) falling in love of two main characters.

But the film's significance orbits Sydney Greenstreet's portrayal of J.P. Alden, an automobile magnate who has moved to sunny Pasadena and now follows the orders of his doctor, his wife and his daughter--who are concerned for his health. He is cantankerous and bored. He longs for the old days, when he could eat whatever he preferred and he could work on cars.

After a series of coincidences and Alden's assumption of a false identity, he finds a way to assuage his cravings. Soon he is smiling again and ditching the pharmaceuticals. There's a solid message here for those who lose sight of their heart's desires.

It's nice to see Greenstreet in a comedy. And there are some notable appearances by recognizable character actors, notably Ian Wolfe as L. B. Crandall, Alden's personal attorney.

The mating dance between boy and girl is fairly routine (no surprises), but the real joy of this film is watching Sydney's character blossom and learn to self-actualize again.

It seems reviewers look for the major stars and the big laughs -- and if they don't find them, relegate a film to 'B' status. This film has no leading man/leading woman who was a glamour aficionado, but it doesn't need one. The strength of this film lies in the plot, the solid acting by the principals, and the powerful entertainment value the film provides to the audience.

I saw this film for the first time last night and was dumbstruck by how good it was. Rather than downloading current movies to my DVR and being surprised by how bad they were and then deleting them, when watching "That Way With Women" I was thoroughly entertained. This is another classic movie that is not well known today -- perhaps because it was not an MGM property, or perhaps it wasn't distributed well at the time to get publicity. Who knows? But I do know this is a gem and it would be well worth your time to watch and enjoy this classic from 1947.

This is a very pleasant film and the leads make it worth watching. It isn't a belly laugh comedy. As with a lot if actors that excel at drama, they don't have a flair for comedy or timing. In this case, it doesn't ruin the film.