The Talk of the Town

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

Talk of the Town is an excellent combination of a screwball comedy and legal drama. Grant plays well in both genres and is aided here with very capable co-stars, Arthur and Coleman. The discussions between Dilg and the professor concerning the practical and theoretical aspects of the law are both entertaining in their tit-for-tat presentation and thought provoking in their philosophical content. Jean Arthur is also very charming as the love interest who helps move them to compromise. I thoroughly enjoyed this intelligent, witty, funny, and well-acted film and strongly recommend it, 8/10.

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.

I don't understand why this movie isn't more popular or regarded as a classic in the canon of early Hollywood movies. All the stars are wonderful in their roles, but Ronald Coleman is fantastic as an ivory tower jurist who is forced to rethink his philosophy. Maybe Claude Rains could have played this part, but without the subtly sarcastic bemusement that Coleman brings.

Maybe because it can't be categorized definitely as a screwball comedy or a "serious" movie, it has been overlooked. I found it much funnier than "Bringing Up Baby" for example, even though "Talk" is a great deal more serious and introspective.

A lot of the suspense that might have been put into the story was bled out by the philosophical approach that the movie takes. Every potentially suspenseful situation that could have been played out for at least half of the movie is extinguished within fifteen minutes at the most. But that's part of the fun! It gets rolling, and you can't quite tell where it's going all of the time. Watching Cary Grant mug suavely and Jean Arthur speak like she's ad-libbing, you just have to sit back and enjoy it. It's not interested in manipulating its audience, it's actually trying to present real characters in a compelling story. I loved it!