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Ginger Rogers is young, single, and unemployed when, as the result of doing a good deed, she gets stuck with a baby in "Bachelor Mother," a 1939 film also starring David Niven and Charles Coburn.

Rogers plays Polly Parrish, who on her way home from her last day at the department store she worked for over Christmas, sees an old woman leaving a baby on the steps of an orphanage. Fearful the child will fall down the steps, she is kneeling over him when someone from the orphanage opens the door and mistakes Rogers for the baby's mother. Polly gives the place her name and place of employment before she realizes they think she's the mother. When she runs away and leaves the baby, the orphanage gets busy contacting her employer. She gets the baby and her job back, plus a raise. No one will listen to her, so she gives in and makes up a story. Complications arise with a date who wants to move up in the store to floorwalker and believes the son of the owner (David Niven) is the baby's father. Eventually the store's irascible owner (Coburn) thinks Polly has given birth to his grandchild and insists that his son marry her.

This is a charming little film with wonderful performances. Niven in that stuffed shirt way of his is very elegant and likable, Coburn is great as his demanding father who breaks down and cries as he holds the baby. "I'd know that chin anywhere," he sobs. Rogers is fantastic. She looks gorgeous and even has a chance to dance without Fred around.

Highly recommended. Wonderful entertainment.

Ginger Rogers, David Niven and Charles Coburn achieve intense comic chemistry under the direction of Garson Kanin. Hardly a dull moment in this stylish and breezy 1940's "department store" romance. The film is constantly funny, often hilarious and always engaging. Rogers and Niven are so stellar they transcend their era, their characters are as contemporary as they are classic. Overall, a brilliant effort by all concerned!

This is a romantic comedy in the fullest sense of both terms. it is both hilariously funny and touchingly romantic (in the old-fashion boy sweeps girl off her feet even though she can give as good as she gets kind of way).

I totally loved the New Year Party scene, and the complications with the other boyfriend were great fun. And Donald Duck has a small but key role to play in this story.

Obviously some of the social attitudes are a bit hackneyed today, but the character personalities certainly shine through brilliantly still.

Apart from its originality (the somewhat risqué story, involving the various misunderstandings which arise over an abandoned baby, was even nominated for an Oscar) and reputation as a comedy classic (from an era crammed with them), this film is notable as a touchstone in the careers of all three protagonists – Ginger Rogers (her musical partnership with Fred Astaire now firmly behind her), David Niven (tackling his first starring role) and Charles Coburn (who practically spent the rest of his life playing wealthy and big-hearted eccentrics) – as well as marking perhaps director Kanin's most satisfying effort in this capacity (he is still best-known as a scriptwriter); incidentally, Rogers and Kanin would soon be re-united for the almost-as-good TOM, DICK AND HARRY (1941; http://www.imdb.com/title/tt0034299/usercomments-11). Given the Christmas back-drop, BACHELOR MOTHER makes for ideal festive fare – adding to the already warm glow (but thankfully eschewing sentimentality) of its subject matter. The two leads exude a wonderful chemistry (they would be reteamed two more times over the course of almost 20 years) which lends conviction to their budding romance and, likewise, a greater sense of involvement to their wacky antics (particularly Niven's attempt to exchange a defective toy in his own establishment incognito, during a marathon dance contest and a New Year's Eve dinner in which department-store clerk Rogers is passed off before Niven's high-society peers as a Swedish heiress). When Coburn, playing Niven's tycoon dad, gets wind of his son's supposed parenthood (via an anonymous note, actually from vindictive employee and romantic rival Frank Albertson), he is overjoyed at the prospect of finally having a grandson – even after both Rogers and Niven produce alternative fathers (including Albertson himself)!; the ending, then, with the leads getting hitched with a ready-made child in tow (a common occurrence today but not back then I suppose), is pure Hollywood. For the record, the film was remade – in color and widescreen – as BUNDLE OF JOY in 1956...which, given the casting of Debbie Reynolds and Eddie Fisher (then a real-life couple), not to mention the addition of musical numbers, provided a distinctly unappetizing 'alternative' scenario for this viewer.

I recently caught this movie on TV one Saturday morning, and was it ever a delight! The story is based on a series of comedic errors, but unlike more recent films, the top-notch acting leads you to believe that yes, it could really happen that way! (I'm used to films veering way too far into the slapstick so that I'm just rolling my eyes and suspending my belief -- here I was just chuckling away.)

Ginger Rodgers and David Niven give fabulous performances, and the head of the Foundling Home plays his part without flaw. I finished the film with a warm, happy glow that I carried into the day. I will enjoy revisiting it in the future.