Unfaithfully Yours

This film brings us Rex Harrison already foreshadowing Professor Higgins. He tries out the arrogant, picayune, verbally acute role and is absolutely successful. The seed is planted and we, who know what is to come twenty years hence, rub our hands gleefully in anticipation of Higgins. But Linda Darnell is no Eliza. Instead, she is a loving, docile, trusting wife, already dressed as though she will be meeting the Queen and looking beautiful and so very desirable.

The dialog crackles and moves fast. Only Rex Harrison and perhaps Cary Grant could have have delivered with the wit and brio that Sturges deserved.

There are two extended slapstick scenes that should have been cut shorter.

Edgar Kennedy as a Private Eye has a couple of great scenes when he turns out to be a classical music devotee and is knowledgeably enthusiastic about Harrison's conducting.

A digression: Harrison tosses a couple of tickets to the Philharmonic concert, they are orchestra tickets a few rows from the front row. Price $3.80, designated as "Patron"' seats.

Rex Harrison is a temperamental conductor and Linda Darnell his younger, adoring wife in "Unfaithfully Yours," also starring Lionel Stander, Rudy Vallee, and Kurt Krueger. Harrison and his wife are so much in love, it's sickening. But thanks to interference from his brother-in-law (a subdued Rudy Vallee), Harrison begins to believe that while he was out of town, his beautiful wife (Darnell) was consorting with his secretary, Tony, played by blond, handsome Kurt Krueger. As he conducts the orchestra in concert that evening, Harrison imagines several scenarios - one in which he kills his wife and cleverly frames Tony for the murder; one in which he pays her off; and one where he challenges Tony to a game of Russian roulette. Of course, when he actually tries to carry them out, things don't go as he imagined.

This is a hilarious movie, with Harrison absolutely magnificent - and I might add, totally unlikable. One wonders if Darnell will stay with him once the bloom is off the rose. Lanky and sure of himself, though not particularly handsome, Harrison has a certain magnetism, not to mention a snappy way with a line. "Will I see you tonight at the concert?" Vallee asks him. "Yes!" Harrison yells. "I'm generally there on the nights when I conduct!" His last scene alone in the apartment is a scream, mainly because Harrison doesn't go for laughs but takes the whole thing very seriously and in character. Darnell is beautiful and appropriately cloying. Edgar Kennedy, as a classical music loving detective, has a wonderful scene with Harrison.

I haven't seen the remake, but I noticed its voting average is lower than the original's. I can imagine Dudley Moore being quite funny, but this role, with its arch egotism, was tailor-made for Harrison.

Noted film critic Leonard Maltin comments "oozing with sophistication" and he's absolutely right.It's a brilliant film for grown-ups (or, at least, grown ups of the 40's).It would probably frighten or confuse todays audiences because the dialogue is so rich it would send them running to the dictionary every other minute.The casting is perfect with many of Sturges' favorite supporting players delivering beautifully.If you're over 50 (and/or have a college degree) you'll love this film.If you're into rock and roll and four letter words this film would be your worst nightmare.

As he conducts a symphony in a crowded concert hall, an esteemed musician imagines different ways to deal with his wife's reported infidelity in this Preston Sturges comedy. Rex Harrison is perfectly posh, snobby and indignant in the lead role, though his character is more than a little hard to relate to as he simply assumes that his wife has been unfaithful based on hearsay without ever confronting her and without any real evidence. In this regard, the film plays out a lot like 'Othello', though with a pronounced black comedy streak as some of Harrison's imagined solutions to the issue are really rather grisly. In arguable bad taste or not, 'Unfaithfully Yours' is laugh-out-loud funny at its best with the zaniest moments coming from Harrison later trying to act on his imagined scenarios, only to find himself foiled by unreliable technology and other things that get in the way. The film is incredibly slow to build up though, with over 45 minutes elapsing before Harrison starts to concoct revenge scenarios. While this build-up does allow us to get under his skin a bit better, it also makes him seem all the more foolish for not doing anything more to confirm the suspected infidelity. A rather nice touch of the movie is how his anger gives him the fuel to conduct more brilliantly than ever, but this is not a first rate Sturges comedy, even if it certainly never once bores.

Unfaithfully Yours (1948)

I've never quite loved Preston Sturges as a director or Rex Harrison as an actor, so having the two of them together here didn't bode well, and I thought I'd announce my bias. And sure enough, on this second viewing I was reminded of a kind of crisp calculation that both of them have. Sturges makes amazing movies, no question, and the best of them (Palm Beach Story is my favorite) are hilarious classics. To see this one for what it offers you might first see a classic Sturges screwball from 1941 or 1942. But even those are clinical at heart (if they have a heart), so it's a little like sipping a very dry, clean martini and getting drunk. Alone. No olives. Wit and sophistication do better in the hands of Cole Porter, somehow, but see for yourself.

Harrison the actor overcomes his harsh demeanor in a movie like My Fair Lady because the music and the style there give him some kind of liberty, but here he is supposed to be sympathetic in his demented cruelty, and I only wish him failure. He is, to be sure, plotting the death of his wife. Three times. And then the fourth, beyond the symphony podium, with its madcap bedlam. It's funny in that zany way you have to laugh at. And you will laugh.

I love classical music and like the structure of the film, but as usual with Sturges, this structure makes the whole process detached and too too clever. Sturges himself wrote the screenplay for this idea way back in 1932, and if it had been shot then, before the Hays code, before the real rise of screwball, we would have had a very different movie. But what we have here is admirable and interesting, for sure, if not the zinger it could have been with a different tilt.