Papá se casa

It is likely that the viewer's main interest in the film will be Gloria Swanson, and this is her only film appearance from the 1940s. That said, she is not photographed at her best, and appears in need of an image overhaul. Her lipstick is dark, and formed into a 1920s-looking pout. Her face has aged considerably since her heyday just a decade earlier. Her hairstyle is unflattering as well. Her comic timing and talent, however, seem to be somewhat intact, but it's hard to tell under such feeble direction.

It is a mildly amusing comedy. It has moments that absolutely work, and other moments that are of their era and rather dated. Some of the situations, such as Swanson giving up her career for marriage, will not be taken lightly by feminists. Yet other scenes point in a more modern direction. The dialogue is hit-or-miss. Certainly, you will find yourself chuckling now and then! The performances are adequate, yet ordinary. Even Swanson, one of the greatest actresses, is below par. However, the film is a curiosity and is not by any means bad or unwatchable. It is worth viewing.

In the period between Sadie (28) and Sunset Blvd (50), Gloria Swanson's movie roles were rare (8) and critical review just medium. But in Father Takes a Wife, her still gorgeous glims, deftness at dialogue and flair for funny makes one wonder what might've been had she the opportunities of the slightly younger Joan Crawford (08) and Greta Garbo (05), the former set to soar (The Women), the latter leaving her best "faces" in the Silents. Directed by Jack Hively (The Saint, Lassie TV), Father co-stars Adolph Menjou, Mary Treen, Helen Broderick, Neil Hamilton, Grady Sutton, Desi Arnaz, Florence Rice and John Howard as jealous Junior, the stepson (2.5/4).

It's hard to imagine that this enjoyable comedy lost money when it debuted, as it's witty and fun. However, lost money it did.

"Father Takes a Wife" begins with Freddie (Adolph Menjou) behaving like a love-struck teen--even though he's in his 50s and the head of a major shipping company. He doesn't care, as he's planning on marrying Leslie (Gloria Swanson). But, there is a slight problem--both Freddie and Leslie are rather stubborn and several times this leads to problems. The first is minor and occurs on their wedding day. The second, and MUCH more serious, begin during their honeymoon. An incredibly egotistical 'singing genius', Carlos (Desi Arnez), stows away on their ship. At first the couple befriend him, as Carlos is quite charming. However, their friendship and patience is tested when he moves in with them and Leslie decides to be his sponsor. Not surprisingly, Freddie is jealous--not just because she could be having an affair but because he feels so left out! Now you'd think things would get better when Freddie's grown children take Carlos in, but it doesn't. What's next for this young old couple?

This is a great example of a film whose plot is ridiculous BUT you can really enjoy the film if you turn off your brain and don't think about this. This is because the characters are wonderful (especially Arnez and Helen Broderick) and the dialog very clever and funny. A nice little time-passer.

This was Swanson's supposed film comeback, followed ten years later by her last and quite different film, SUNSET BOULEVARD. A tightly scripted nutty comedy which probably played better on the stage where one line followed the other without long silent panning shots, it has Swanson playing familiar Hollywood names Adolf Menjou and Desi Arnaz, and stage personalities John Howard, Florence Rice and Helen Broderick.What makes the film enjoyable, to me, are the long, tight scenes so superbly played by Gloria and Desi, that their charisma creates comic genius. Beyond this, you have the potential of a very funny, nutty comedy which neither the director nor the camera operator seems to help make shine.

Legendary silent screen superstar Gloria Swanson comes to the rescue of this tepid romantic comedy. Her screen appearances in talkies are rare enough to make every one of them a "must-see" for devotees of show business in general and films in specific.

Here, the iconic actress actually plays second fiddle to lead Adolphe Menjou. She gamely jumps into this very minor programmer lending it a glossy sheen with her unique charm and style. Never really an actress know for her comedic skills, Swanson here demonstrates her skill at it and it apparent that she enjoys the genre.

The plot may be as lightweight as a champagne bubble, but Swanson's melodious voice and her glamorous facade certainly elevate the proceedings to a very enjoyable eighty minutes. And old pro Menjou makes a good fit for her costar because of both his age and his height, and the audience can easily believe in their relationship. Able support also comes from dashing and boyish Desi Arnaz and droll Helen Broderick.

Swanson sports some fantastic and outrageous costumes sure to delight every fan of Hollywood fashion in the 1940's. The fur ensemble that she wears in the play within the movie is off the charts in terms of luxurious glamor and style. Anyone fascinated by the beautiful and impracticable costumes of Hollywood designers will have a field day here.

If not for Swanson, I'd give this movie four out of ten stars, but because of her -- I'll add two more!