He Married His Wife

The actors around McCrea in this movie are second or third tier and it gives a chance to see how well, and if, he can carry an entire cast.

McCrea often said he always wanted and needed to have a great actress as the star of his comedies and romances, naming Ginger Rogers and Claudette Colbert as by far the best he ever worked with for the whole package of box office power, acting ability and screen presence. Stanwyck got his vote as the greatest actress he ever worked with but she was never the box office draw that the other two were. It seems like McCrea was quite perceptive about his career since, if you add Jean Arthur & Miriam Hopkins to the list, most of his great movies did have these amazing actresses across from him. This movie would have been much better with any of them instead of Nancy Kelly.

Kelly has a sort of Irene Dunne appeal but her timing isn't too hot and she can't dominate a shot. Her screen presence is slight and she disappears badly when McCrea is on the set. Mary Boland does a kind of Alice Brady schtick from 'Gay Divorcee' and at one point even wears an imitation of Ginger's iconic "Feathers" dress from 'Top Hat.' Lyle Talbot, who had come up at about the same time as Rogers and Colbert and Stanwyck, had already shown he wasn't remotely in their class and had, for some years now, been well down in a movie's casting credits.

At this time Joel McCrea was in the middle of his greatest period, 1937-1944, when he was displaying one of the greatest acting ranges in the Golden Age of Hollywood. Unfortunately, 'He Married His Wife' is a kind of throwback to the kinds of films McCrea was making in 1930 or 1932... decidedly lower quality stuff, this one is closer to 'Kept Husbands' or 'The Common Law' than to his contemporary work, masterpieces like 'Foreign Correspondent' and 'Primrose Path.'

He Married His Wife casts Joel McCrea and Nancy Kelly as a pair of amiable former marrieds who broke up for McCrea's love of the sport of kings. Now McCrea's nags are interfering with his alimony payments and Kelly feels compelled to have him jailed.

Only thing to do is get her married again which McCrea proposes to get Kelly hitched to their friend good old steady and reliable Lyle Talbot. The deed can be done at Mary Boland's place where the whole gang is spending a weekend.

In fact another possible candidate visits Boland, Cesar Romero from South America. This all shouldn't be a problem but complications arise from everyone present even from Roland Young who offers a lot of trenchant observations. Young is McCrea's attorney.

As screwball comedies go this is a mild and pleasant one. Someone with a real comedic touch like Irene Dunne or Carole Lombard might have got this rated higher. Best in this as she is in so many films is Mary Boland who just rises above the human condition into her own little world.

Fans of the leads should like this.

This might have played out better had there not been a glaring inevitability to the denouement right from the start! Racehorse owner "Randall" (Joel McCrea) and ex-wife "Valerie" (Nancy Kelly) are having a dance when the cops show up and arrest him for non-payment of alimony. It's only a short term glitch, but sets the scene for a film that sees him desperate for her to marry again and get her hands out of his wallet! To that end he has the support of his lawyer "Carter" (Roland Young) and to be fair to "Valerie", she has no shortage of suitors. The more they try to fix her up, though, the more things seem to go wrong with their (not so) cunning plans. "Freddie" (Cesar Romero) and "Paul" (Lyle Talbot) seem to be the front runners as we head into the home straight and that's where predicability swoops in and well, there you have it. For much of this, Kelly reminded me of Barbara Stanwyck but if only. She rather meanders through the film adding little by way of chemistry with any of her would-be beaus while McCrea just doesn't come across as if he's enjoying one bit of this lightly comedic affair. It's a fun premiss but executed indifferently.

I do not know Roy Del Ruth's worth as director but, on the strength of HE MARRIED HIS WIFE, he seems technically capable, with sound cinematography support from Earnest Palmer. I find it harder to appraise his quality in other departments, not least because of the rather childish screenplay by Sam Hellman and John O'Hara. The joke about Joel McCrea's excessive interest in horses and horseraces wears off in less than 20 minutes and the film pretty much limps on from then on with Nancy Kelly in the enviable if rather cretinous position of collecting generous alimony from ex-hubby McCrea and getting Cesar Romero and Lyle Talbot to fight for her hand, while McCrea's lawyer Roland Young does not seem overly interested, let alone proactive, in his efforts to assist his client.

In a rather muddled ending, the ever likable McCrea, who has always encouraged Kelly to find a new spouse so he can stop paying alimony, ultimately wins by a neck to the sound of a radio commentary. It that does not tell you that this film is a complete waste of time and treats the viewe like an idiot, I doubt anything will. 6/10.

Not all screwball comedies of the '40s are worth bothering about and this one goes to the top of the list in that category.

Poor JOEL McCREA and NANCY KELLY head a pleasant enough cast, but they have their work cut out for them. The silly script is something about a broad-minded man who's unable to pay alimony to his wife but foolishly goes along on a week-end trip to the country where he tries to play Cupid in getting her together with two men (LYLE TALBOT and CESAR ROMERO) who are crazy about her. If that makes sense, give me a clue.

MARY BOLAND is the country hostess who flutters around like an imitation of her character in THE WOMEN. ROLAND YOUNG has a few wry remarks to make, but NANCY KELLY is almost insufferably coy and arch as the exasperated heroine.

This is supposed to be wildly funny but the situations are all very artificial and most of the punch lines fall flat. The only compensation is seeing the attractive JOEL McCREA at his handsome best, playing it straight and not seeming to mind the hopelessly contrived script he's caught up in. He and CESAR ROMERO have the most luck with their hapless roles.

Only for fans of '40s screwball comedies that are easily amused.