Le fiancé de ma fiancée

This is my absolute favorite movie. They used to play it on the old movie chancels pretty often, but I have not seen it in a while. I will watch this movie every time it comes on TV. Even though there are plenty of sight gags, the best part of the movie is the interaction between the characters. This movie has some of the best dialog. I laugh out loud every time I watch it. I especially love the scene at the train station where Bill talks the group into "playing railroad". Even though it was made in the forties, it still stands up today. If you like romantic comedies, this is the movie for you. Great characters; Great acting; Great writing. I highly recommend it. (It truly should be on DVD. Who decides these things?)

I saw this movie many years ago and hardly remember anything, except loving it. Here is what I wrote in my diary:

"One of the most delightful comedies I have ever seen. I was in awe of the writer's wit and wisdom. The moral of the movie is that the greatest duty is the duty to oneself, the duty to be happy, to do as one pleases, not as one should, for the "shoulds" are nothing but other people's opinions."

At the time I didn't know the writer was Norman Krasna. Eventually, he would become one of my favorites. A Krasna movie is guaranteed excellence. His sense of humor and dignity never fail. Of course, one needs some of his smarts to understand him.

IMDB reviewers of a certain age may remember the 1944 Norman Krasna Broadway comedy hit "Dear Ruth." These folks would have entered their high school years just as WWII was mercifully winding down, and they thoroughly enjoyed its topical wartime humor, adolescent high jinks, numerous misunderstandings and gentle innocent laughs. It is quite possible that their graduating class play might have been one of the many stage incarnations of DR that then seemed to come out of nowhere in high schools all over America as we moved into the postwar 1940s.

DR perfected the now familiar cliche-driven plot device of a young "miss fixit" teenage girl (Mona Freeman) initiating a romantic penpal correspondence with a naive unknowing serviceman by pretending to be her older more age-appropriate sister. The resulting exchange of letters produced all kinds of interesting complications from this situation that propelled the plot to its inevitable satisfactory resolution and conclusion. DR was so successful that its 1947 big screen version starring an extremely youthful William Holden and an equally attractive Joan Caulfield generated no less than two more almost equally popular sequels within the next few years (Dear Wife (1949) and Dear Brat (1951))!

Although critical praise for the film version of DR may have been somewhat muted, audiences seemed to appreciate the spirited enthusiasm of the lead actors, the splendid additional contributions by the veteran cast of character performers and the good work done by director William D. Russell. And while it is certainly true that by 1947 some of DR's wartime humor began to feel dated, its pace never let up as the likable cast entertained us for 95 laugh-filled minutes.

In DR, Holden clearly demonstrated an appealing natural aspect to his role as well as a more substantial acting range as a performer. In just a few more years, Holden would solidly emerge as one of cinema's major actors and one of the greatest leading men of his generation.

This was one of the most delightful films I have ever seen. Film makers have forgotten what the elements of a good film are. This one has it all: character development, snappy dialogue, humor, love, and a happy ending. The actors and actresses tell their story not only with words, but with their expressions and other non-verbal communication. Who needs fantastic stories, mindless violence, etc. This kind of film really entertains.

Wonderful performances by all. Marvelously executed comedy. For those who don't already know, J.D. Salinger, the author, spotted the movie marquee heralding the stars of this movie, William Holden and Joan Caulfield. Thus, the inspiration for his character's name in "Catcher in the Rye", Holden Caulfield.

Looking to the supporting cast, Billy de Wolfe gets to play the same character (or is it really him?),he always plays, prissy and particular. De Wolfe never fails comedically and is a major factor in taking this film over the top. The 2 sequels, Dear Wife and Dear Brat, were showcases for him. Even in the 1960's TV sitcom "Good Morning World", with Joby Baker and Ronnie Schell, de Wolfe's signature character still brought laughs.

Now, to Mona Freeman. Although she never achieved major stardom, or any stardom in adulthood, she carved a nice niche for herself playing the precocious teenager in many films. Freeman made enough of a mark in her day to be immortalized (caricatured) in cartoons, just like the more recognize-able Bogey and Bing. Think about it, yup, that was her.

In Dear Ruth, Freeman was ever the volunteer or manipulator. She ends up as a very positive female role model. Even more so because of the "place" of women in the 1940's. She was a very talented young lady. Freeman's interaction with her dad, Edward Arnold, is universal and timeless. A fine performance by Arnold "squeezes" all the humor out of what should be typical and predictable dad/daughter(s) comedy. Arnold was the perfect choice for the dad.

This was a very funny ensemble performance. It's great family entertainment. Dear Ruth was deserving of 2 sequels....