Lucky Partners

"Lucky Partners" has a very good, very funny ending that alone makes this film worth watching. It's not the best courtroom comedy scene, but it's a very good one. And, it brings in the last supporting actor, whose presence helps lift this comedy a notch. That's Harry Davenport as the Judge.

A couple of reviewers commented that there is no chemistry here between the leads, Ronald Colman as David Grant, and Ginger Rogers as Jean Newton. Rather, they seem to me to be stand-offish which is part of the plot and roles they are playing. David is a quirky character, after all, with a very strange idea. And Jean is very naturally suspicious of this guy. In any real-life setting of such a situation that brings these two together for the whole movie, I can't imagine that any respectable woman wouldn't be the same way. So, Ginger plays that part very well.

The supporting cast in this film are all very good. Spring Byington has a small part as Aunt Lucy. Two brothers who own a neighborhood bistro as Nick #1 and Nick #2, are Leon Belasco and Eddie Conrad. A small part by Fern Emmett as the hotel chambermaid is very funny in the courtroom. She is testifying about the strange practice of Jean. The maid says she would go to one room after another in the hotel to turn down the beds and, on opening the door she would find Jean sitting in a chair, facing the door and "waiting to POUNCE on me."

But the best supporting role overall is played by Jack Carson. Some people may not like Carson for his part, but he was a consummate actor who played whatever part he got very well. Here, his Freddie is something of a blowhard and long-time boyfriend of Jean's. That they've only been engaged five years says something about their relationship in the movie. Take Carson's part out and the movie loses the basis for a significant amount of the humor.

Perhaps the one thing that sets this film back slightly is the persona of Colman's David Grant. It's not that he doesn't play it very well. Indeed, Colman was known for a specific persona in many of his films where his delivery was rather matter-of-fact and sometimes bitingly clever or huge understatement. But, with Jean's more lively, sprightly persona, I think the film would have been lifted a notch if David had been a little more down to earth and ordinary - as someone who is obviously attracted to Jean early on. Instead he does come across as somewhat snooty. But, to me, that's not "chemistry," where otherwise the two show keen interest in the other person at the right times.

Here are some favorite lines from this film. The Quotes section under this IMDb Web page on the movie has loads of funny lines, mostly from the court scenes.

Jean Newton, "Oh, Aunt Lucy, will you never grow up? People could walk in here and take your entire stock and you'd never know the difference."

Jean Newton, "And, the passion you've acquired for French novels, shame on you." Aunt Lucy, "Yes, darling, I know they're not entirely moral. But the French always seem to make everything so logical."

Freddie, "He's harmless. Look at him."

Freddie, "Very strange duck." Jean Newton, "Just what kind of a duck does that make you?"

Bride in elevator, "Did you just get here, honey?" Jean, "Yes." Woman, "We've been here a week." David, "How are the falls?" Groom in elevator, "Uh, we're seeing them tomorrow."

Freddie, "If you think you can take my girl and... " Jean, "And, what?" Freddie, "That, I don't know."

Freddie, "I used to think he was just crazy. Now I don't trust him." Jean, "That means you don't trust me either."

Hotel maid, "I tell you, your honor, it got me so nervous, I've been ascared (sic) to open a door ever since, for fear I'd find her sitting there, waiting to POUNCE on me."

Judge, "I've never heard that celebrities are any more to be trusted in their relations with women than anyone else."

Jean Newton, "Oh, it wasn't that kind of an experiment. I was to be a guinea pig."

Judge, "I see. He made love to you, he kissed you, and then he drove away in your automobile without a word. Is that right?"

Jean, "Your honor, this isn't fair. You said you were gonna protect me. He's only trying to make me talk to him now because I wouldn't talk to him outside."

Judge, "And now, Mr. Somerset." To the bailiff aside, " I have a lot of questions to ask this Casanova."

Judge, "Now that we've heard the witnesses in this case, it seems to me that we're in even deeper confusion than we were before."

It's not in the league of It Happened One Night or His Girl Friday. The story line is nonsensical and the pacing can be slow and ultimately, it just doesn't work. So why 7 stars? Because Ronald Colman is having a ball playing a sexy rogue and every romantic scene works perfectly. He drops some incredibly flirty dialogue and Ginger Rogers reluctantly being proper and locking the door to their adjoining rooms is ALL OF US (whew!). There's a scene that's a precursor to "Pillow Talk" that's just as romantic. This movie just doesn't really work, it should have been better, but it's worth it to watch just for Colman and his scenes with Ginger Rogers.

It was an article of faith among the more cynical critics during the "golden age" of Hollywood movies that most of what the industry turned out could be summed up as "boy meets girl, boy gets girl, boy loses girl but gets her back before the final fade". Well, here Lewis Milestone has directed just such a formula tale. But he, more famous for such films as ALL QUIET ON THE WESTERN FRONT, has handled the genre with such a light touch that the result is delightful. Mind you, I don't say the film is top 100 quality, but what's not to like about a Sacha Guitry romantic comedy featuring Ronald Colman and Ginger Rogers and ending with a courtroom scene, common to this type of film in the 1930's and 1940's, presided over by Henry Davenport as Judge?

We start out with Colman as some sort of "mystery artist" accosted by Rogers with a hare-brained scheme to win the Irish sweepstakes, if only he will go halvers with her. He wished her "Good Luck" one morning, you see, and immediately she was given a lovely dress by a complete stranger. So naturally, she knew he was a sure token of good luck. She wants the money for her honeymoon, but Ronald has an idea of his own--he wants her to go with him on the honeymoon, strictly Platonic, of course. To make a long story a bit shorter, Ginger doesn't like the idea but Ronnie persuades her fiance, Jack Carson, that it's O.K. (Don't ask how!), so she finally agrees. They draw a horse on their ticket (if you don't know how the Irish Sweepstakes worked, there isn't room here to explain it all), but the horse doesn't win. However, Jack has sold one-half of the ticket for $6000 on the strength of the horse. He gives this to Ginger, who gives it to Ronnie, who arranges the trip and buys a car in Ginger's name. After considerable pussyfooting around it becomes clearer by the minute that Plato is going to lose this one. Ronnie gets cold feet and beats it in the car bought in Gingers's name. Naturally he is arrested for car theft, Ginger is arrested for possessing a stolen painting (I told you Ronnie as a "mystery artist"), Jack is arrested for breaking down Ginger's hotel room door (he got jealous after all), and they all end up in Henry Davenport's courtroom.

Now, don't read another word if you don't already know the outcome, but if you are of the female persuasion and had the choice of Ronald Colman or Jack Carson, whom would you choose. This courtroom scene is not the best of this sort, which I mentioned was common to the period, but it does serve to sort things out. It may be corn, but it is lovely, sweet corn, and not from Iowa. Light sparkling comedy was Sacha Guitry's stock in trade.

A romantic comedy along the lines of 'It Happened One Night' (1934) but Ronald Colman is the incognito one. Ginger Rogers isn't in the know but agrees to take a Platonic road trip with him even though she's engaged to someone else. This is pretty risqué material for 1940 and there's a bit at the end which could be interpreted as a jab at the Hays Code (thanks to Equinox23 for that insight). Directed by Lewis Milestone ('All Quiet on the Western Front', 'Of Mice and Men') with a story that keeps one intrigued thanks to its unpredictability, it is a perfectly delightful piece of entertainment guaranteed to leave a warm fuzzy feeling. Several other reviewers here are rather harsh on this film, citing lack of plausibility, chemistry, etc. If you want plausibility see 'Judgment at Nuremberg' but if you enjoy romantic comedy don't let the nitpickers here dissuade you from seeing this charming film.

Ronald Colman fascinates me. Perhaps more than any actor ever to grace the Hollywood sound stages (and silent-era stages), he is a truly unique actor. And, as the epitome of suaveness, with that once-in-a-lifetime voice, like Jack Nicholson and Spencer Tracey, I can enjoy a Colman film if for no other reason than to revel in his screen persona. Having said that, this is far from Colman's best film, but it is pleasant enough. Due to the era -- 1940 -- one might expect this to be a screwball comedy. Rather, it is a sophisticated comedy, so don't expect to laugh out loud...it's just not that kind of film. Ginger Rogers is also very pleasant here, and Jack Carson plays his role of jilted fiancé perfectly (he really was quite a versatile actor). Some people believe that the obvious difference in the age of Colman and Rogers makes this film improbable, yet I can imagine Hepburn and Tracy in the star roles, and that age difference wouldn't have bothered us. Spring Byington is pleasant, but in terms of the character actors who fill out the playbill, it is -- as is often the case - Harry Davenport (as the judge) that really shines here.

As a Colman fan, I enjoyed this film. It's pleasant, humorous, and heartwarming. It's perfect for a night in front of the fireplace and television.