The Amazing Mr. Williams

With a clever and inventive script, perhaps any cast could give good performances, but "The Amazing Mr. Williams" has a wonderful, top-notch cast.

Sorry I've never heard of director Alexander Hall, but it's obviously my loss. As good as the players are, they couldn't have created such an enjoyable ensemble production without a very able director.

Probably there is no reason to list all the actors because you can see that in the IMDb listings, and, really, they were ALL so good, it would be a shame to leave out anyone.

This is a fairly low-budget movie, since it's from Columbia, but it is an incredibly high-quality motion picture, one I recommend very highly.

There is a very good print at YouTube. Please watch it.

Melvyn Douglas and Joan Blondell co-star in "The Amazing Mr. Williams," a 1939 mystery/comedy that's quite good, although forgotten, probably due to the number of incredible films that came out in 1939.

Douglas plays a talented police detective married to his job, while his girlfriend waits for a wedding that is constantly postponed. What happens in this film is no exception - he's called to a murder scene just as he's about to walk down the aisle yet again.

Both stars were excellent at comedy, worked together well (and often), and help make this battle of the sexes fun. Edward Brophy and Donald McBride are on hand for excellent support.

As you can read in other reviews, Melvyn Douglas doesn't make much of a woman.

Entertaining if a little on the long side.

One of the comments here trashed Melvyn Douglas, one of our greatest actors. He literally floated effortlessly through dozens of films as the other man and the best friend before coming into his own in films as an old man. He wasn't lazy, but rather, a very hard-working actor (who made it look easy) who had a Broadway career simultaneously with his film career. He just wasn't cast as a leading man in films or given very challenging roles under the studio system. I challenge anyone to see his devastating performances in "Hud" and "I Never Sang for my Father" and call him lazy or make reference to his smirk.

Delightful minor film, juggling comedy and detective, romance and drama genres as nimbly as Lt Kenny Williams (Melvyn Douglas) balances his devotion to his girl Maxine Carroll (Joan Blondell) and his duty to the force as an ace detective.

This hodge-podge may not appeal to all viewers today, but in its day, it had something to offer every member of the movie-going family, and the resolution to the rather tired feeling-versus-duty plot is original and refreshing, and well worth the wait.

"The Amazing Mr. Williams" contains what must be among the most outrageous blind dates in film history, and its bright comic repartee sparkles. Ludicrously frocked, Melvyn Douglas delivers some of the best lines: "I'd walk down Main Street in a Turkish towel before I'd let any woman control my life!" And the effervescent Joan Blondell lets her barbs fly with typical aplomb: "Good grief! You look like my Aunt Nellie!'

The crime-solving here is standard fare, although a fine cast of character actors helps bring the material to life.

From today's vantage point, "The Amazing Mr. Williams" is perhaps most interesting for its insightful commentary on gender as a socially defined construct, all the more malleable for its seemingly rigid boundaries. While much of the gender commentary takes place in a superficial battle of the sexes, at times it is both subtle and penetrating, playing out not only in some of the finer details of the film, but in the battle of genres that reaches its culmination in the final scene.

Joan Blondell is waiting in a restaurant. "Honestly, I should have my head examined," she says. "The world is full of nice normal men and I become engaged to a crazy cop."

The crazy cop is Melvyn Douglas, ambitious young police detective constantly tugged between his job on the one hand and his fiancée on the other. Blondell wants a little of Douglas's time - but for some reason homicide chief Clarence Kolb is intent on making Douglas work as many nights as possible, causing him to miss dates with Blondell.

Kolb's wicked plots to keep Douglas focused on his job involve enthusiastic assistance from goofy fellow cops Don Beddoe and Donald MacBride. Blondell herself works in the mayor's office across the courtyard from the cops, with co-worker Ruth Donnelly on hand to supply sardonic cracks.

A hilarious early episode features Douglas escorting convict Ed Brophy to prison to begin a 40-year stretch. Not wanting to miss an appointment with Blondell, Douglas stops off at her apartment, introduces Brophy as a pal, and they go out for a day at the beach....

Blondell's frustration with Douglas and his darn detective work builds and builds - until suddenly Douglas is arrested and it's up to Blondell herself to track down a key clue and save an innocent man. All of a sudden she's gung ho:

Donnelly: "You're crazy - what do you know about being a detective?" Blondell: "Everything! Watch me."

It's a silly story but this cast sure makes it a lot of fun - right down to the closing gag, which you can see coming from a mile away but is hilarious nevertheless.

You get exactly what you expect from this and if that is a very typical late thirties comedy crime movie without any surprises or anything particularly memorable to make it stand out from the crowd you'll not be disappointed. As predictable as it is, this one however feels a bit more special.

This was the third picture Joan Blondell did with Melvyn Douglas: after a mediocre Thin Man rip off, they got into their stride with a very funny screwball comedy followed almost immediately by this quite witty crime comedy. It's well made, you take an instant liking to the characters and it keeps your interest by having a fairly intelligent and engrossing story. It's not laugh out loud funny but it gives you a comforting and cosy warmth that will make you smile. Somehow because the characters seem like real people, you don't actually notice how ridiculous this story gets at times. For example, it seems quite normal that Melvyn Douglas disguises himself as a woman simply by putting on a dress and a blonde wig still wearing his moustache. Those of you with exemplary musical taste will all be thinking what I thought at that point - that he bears a remarkable resemblance to James Young, the guitarist from STYX or is that just me?

Although her pre-code days and saucy outfits were long behind her by 1939, Joan Blondell has possibly never looked more gorgeous. Her character here is a bit more sophisticated than her earlier roles and it must also be said that she looks particularly voluptuous in this. It's a Melvyn Douglas movies so her role isn't quite as meaty as it could have been as most screen time is devoted to Mr Douglas. Having however escaped the treadmill of Warner Brothers, she certainly looks more relaxed and seems as though she is having fun which of course makes us enjoy it too. It's hardly a dramatic role but it's good to see her playing just slightly different rather than just a caricature of herself which plagued the latter part of her career at Warners.

Even if you're not obsessed with Joan Blondell, if you like 1930s comedies you'll probably enjoy this. It's no BRINGING UP BABY but it's a grade above most of the comedies which were made just before the war.