My Dear Miss Aldrich

The best thing about MY DEAR MISS ALDRICH is that it gives MAUREEN O'SULLIVAN a chance to prove that she was not only very pretty but a capable enough actress to ensure that in the future she would be rewarded with more leading lady roles worthy of her charming presence. Not so. MGM gave her this chance to shine briefly and then tossed her back into secondary parts in big films until she was cast as Jane in the hugely popular Tarzan series.

But the film itself appears to have been hastily put together on a modest budget with some good one-liners thrown to EDNA MAY OLIVER, who of course is a sheer delight as Miss Atherton, presumed at first to be the heiress who has inherited a big city newspaper. Of course the real owner is her niece, and when the real owner's identity becomes known to the hero, the story becomes a battle of the sexes with Maureen out to show him that his sexist attitude towards women needs some sort of reformation.

If the script and direction had been a little more sophisticated, this might have earned a better reputation as a screwball comedy in an era when the major studios were churning out things like FOUR'S A CROWD and LIBELED LADY. As it is, it's harmless fluff that gives the spectator a good look at Maureen O'Sullivan at her loveliest, billed over Walter Pigeon who takes full advantage of his role. They both play with assurance as romantic leads, but Pigeon's fans will be delighted to see that his flair for this kind of comedy even existed. He was cast in much more serious roles for the main part of his career.

Obviously produced as a programmer for the lower half of a double bill, this has its moments, thanks chiefly to Edna May Oliver's dominating way with stealing a scene. Her tart remarks are what helps make the film click at all.

Spelling note: I've tried to correct the spelling of Walter Pigeon's name, but it keeps on being switched back to Pigeon by the spell check apparently written into this review by either my computer or the IMDb site. There's a "d" before the "g", for anyone who's curious.

This is a quality MGM production. Overall, the film is pleasing and entertaining. The script plays it safe by suggesting female equality but allowing the hero to win the woman's heart by the end of the movie.

Edna May Oliver is, as always, the bright spot in the movie. No one can toss off a carefully crafted bon mot like Miss Oliver. Walter Pidgeon plays what amounts to a talking "Ken Doll". Maureen O'Sullivan is stunningly beautiful. This film shows that she has a far greater range than playing "Jane" in the MGM Tarzan movies.

The weak point in the film is the script which is Generic MGM - any number of Actors and Actresses could have played these roles.

Edna May Oliver, Maureen O'Sullivan and Walter Pidgeon make "My Dear Miss Aldrich" a very good, heart-warming comedy. Built around New York City's largest newspaper (fictional), the plot here is a relatively mild and not-sensationalist portrayal of the press and journalism of the day. That's the picture that most moving pictures paint of the press of the time. Not that they are far off, but it's just refreshing to have one film whose focus is more on the professionalism of the paper. This has that, with nice doses of humor.

O'Sullivan plays Martha Aldrich, a young small-town teacher from Upper Platte, Nebraska. She inherits the Globe-Leader from a distant relative. Oliver is her aunt, Mrs. Atherton, whom she calls Lu. The aunt is a sort of mother hen, watchdog and companion of Martha. Naturally, she will go to New York with her niece. And Pidgeon plays Ken Morley, the managing editor of the newspaper. After his mistaken presumption of an old maid, stick-in-the-mud schoolteacher, Morley is very pleased to find the young and intelligent Martha as the heiress. One can guess where the film will go from there - with romance between the two.

But some good twists and meat to the story come from a couple of adventures the new owner gets into as a reporter for her paper. The film has some funny dialog, including frequent pithy lines from Aunt Lu. This is a warm comedy with a down-home feel that all ages should enjoy. Well, at least all who don't need constant adrenaline rushes to be entertained.

Here are some favorite lines from the film.

Mrs. (Aunt) Atherton, "You'd live in that school if they'd let you." Martha Aldrich, "I like to teach school." Mrs. Atherton, "Nonsense. Nobody likes to teach school - anybody that isn't homely. I'll say this for you - you may be crazy, but you're not homely."

Mrs. Atherton (Aunt Lu), as the phone rings, "Shall I answer the phone?" Martha, "Oh, you might as well - that's why they ring it. When they don't want you to answer, that's when they don't ring." Aunt Lu, "That's another thing - that sarcastic sarcasm of yours."

Ken Morley, "I expect nothing. That's why I'm never disappointed."

Ted Martin, on the phone, "Where am I? I'm on the other end of the phone."

Doc Howe, "Maybe being a woman ain't a crime - in Nebraska."

Mrs. Atherton, "We've got eight pieces of luggage, countin' the umbrella. See that everything gets off. Everybody in New York's a thief."

Mrs. Atherton, "Well, it seems a funny name to call a place that's free of locusts, Locust Valley."

Mrs. Atherton, "A thing makes sense, or it doesn't make sense."

Mrs. Atherton, "Out in Nebraska, when they give a place a name, the name means something." Martha Aldrich, "Lincoln was never in Nebraska, Aunt Lu, and yet that's the name of the capitol." Aunt Lu, "He could have come if he wanted to - it was there."

Martha Aldrich, "You see, I not only don't know how to play bridge; I don't even know how to watch bridge." Ken Morley, "Well, I wouldn't be surprised if getting away from bridge players keeps as many people occupied at night as playing bridge does."

I can watch this movie a couple of times a year. It's astonishing in the MGM ham-handedness of the production. How we are to believe that Maureen O'Sullivan, with her trans-Altantic accent, or Edna May Oliver, with her stage-British, hail from Nebraska, is beyond me. MGM's idea of screwball comedy usually involved.... well, MGM didn't do screwball, unless you count casting Joan Crawford in SUSAN AND GOD.

Yet somehow, everything about this movie works. There's the Herman Mankiewicz script, of course, and the sure comedy direction of George Seitz and Miss Oliver is always absurd. Most of all, Walter Pidgeon is perfect as the lumber-minded Ken Morley.

Walter Pidgeon, Maureen O'Sullivan, and Edna May Oliver star in "My Dear Miss Aldrich," from 1937.

Martha Aldrich (O'Sullivan) is an advocate for women's rights and also a teacher. When she inherits a New York City newspaper, she and her aunt (Oliver) head for New York. There they meet the chauvinistic editor Ken Morley (Pidgeon) who has never had a woman on staff. Not having met Martha, he assumes she will be no problem, just some midwest schoolteacher.

The first thing she does is get a story no one else could get. She then asks for a job as a reporter. He reluctantly okays it. When a major strike is looming, Martha goes on a hunt to find out what's happening and scoop the other papers.

Maureen O'Sullivan is gorgeous and vivacious; Edna May Oliver steals all the scenes she's in; and Pidgeon does a good job, despite not being quite the rugged chauvinist that perhaps Spencer Tracy would have been. Pidgeon was too gentlemanly.

Oliver was 54 when she made this film and 59 when she died, having played the old aunt for most of her career. Remarkable.

An enjoyable movie, nothing special.