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Although Mary Mary could have used a bit of editing, it's about a half hour too long in its running time, the wit of Jean Kerr's Broadway hit is kept over for the film version. The major player cast of five starts running on fumes at the 3/4 pole.

Playwright Jean Kerr was married to Walter Kerr the New York Herald Tribune drama critic and their married life was told in Please Don't Eat The Daisies. What can be better than a writer married to a critic. You can always get expert help to smooth over the rough spots. And you are guaranteed a good review in the Herald Tribune.

Mary Mary hadn't finished its Broadway run of 1564 performances when it was filmed and released. Barry Nelson who repeats his role from Broadway is a publisher who has divorced his first wife and about to marry rich debutante Diane McBain. He may be divorced in the eyes of God and the divorce court, but getting untangled tax wise is another matter. He's in a huddle with his accountant Hiram Sherman who took the liberty of inviting ex-wife Debbie Reynolds for help in separating their finances and figuring out the proper deductions.

Also arriving is Hollywood actor Michael Rennie who's taken an interest in Debbie. Nothing like that to get the ex-husband jealous even though he's the publisher of Rennie's spicy memoirs. I think Rennie is somewhat based on the late Errol Flynn. Certainly his memoirs might also have been called My Wicked Wicked Ways. Rennie also repeats his role from Broadway.

Mervyn LeRoy gets the best he can from his cast and certainly no complaints here about replacing Barbara Bel Geddes from Broadway with Debbie Reynolds for some box office insurance. Debbie is at her perkiest and matches wits with the rest of the cast including her rival McBain.

Though it's not mentioned it's no accident that Nelson is ready to marry McBain who comes off like a rich younger version of Debbie Reynolds. Might have been nice to have a musical number for Debbie in the film.

Not a great film, but Mary Mary is good version of an early 60s Broadway hit.

This is a version of the very long running (1,500+ performances) Broadway comedy by Jean Kerr, wife of New York Times theater critic Walter Kerr and author of the novel, Please Don't Eat The Daisies.

It would have been a much better film if Debbie Reynolds been given better (or any) direction.

Debbie was sometimes not adept at playing it real, there was sometimes a sense that she was making an effort. But at her best, she was spontaneous and delightful - especially in her earlier efforts like Singin' In The Rain, Athena, Give A Girl A Break, I Love Melvin, etc.

Take a look at Debbie in Susan Slept Here (written and directed by Frank Tashlin) if you don't think she could be real, believable, touching, funny, and everything else she is supposed to be here, and isn't. There's a reason she became a bigger star than many of the MGM girls she originally appeared in support of - and guys, for that matter. Even when she isn't too good (as in this film) it's obvious that she has star power. Imagine a film starring the other four leads and no Debbie.

The trouble here is that, rather than relying on her own vocal inflections, and her proved ability to deliver comic dialogue, she gives an imitation of Barbara Bel Geddes (the original star of the Broadway show)! I don't know whose idea this was, but it wasn't a good one.

It's a decent romantic comedy that has a lot of pretty good jokes about the contemporary fads and foibles of the day. The action really doesn't leave the apartment set. The set and costumes are in deliberately neutral tones, like they were designed to be shot in black and white. (The brightest colors are in the title sequence.) Like Debbie's performance, the stylized color scheme serves to distance us from the story, since it encourages us not to forget we're watching something unreal. The whole thing is shot at some distance from the actors - though this seems to have been Mervyn LeRoy's later style, in general. This also hampers involvement.

The performances of Barry Nelson and Michael Rennie - the original Broadway stars - as well as Hiram Sherman, who took over on Broadway from John Cromwell, the actor and director ("Since You Went Away"), are quite good, and Diane MacBain is charming.

Yes, it is obviously based on a play. Director Leroy has made no attempt to open it up, but this adds to it's effectiveness. It concentrates on the characters and the very witty dialogue. It's greatest strength lies in the outstanding performance by Debbie Reynolds in the title role. It is unlike anything she had done before and combines intelligence, wit and an amazing vocal technique. She tosses off great one-liners with relish and proves an admirable partner for co-star Barry Nelson. He had been in the original Broadway cast, and brings his own brand of understated comic playing to the role. Michael Rennie has a lovely time, sending himself, (and Hollywood), up. Wit is sadly in short supply in today's comedy movies so it is a pleasure to see this beauty again. The play's author Jean Kerr, was reportedly very happy with with this adaptation. Thanks to Miss Reynolds and company, so should you. That is, if you like the adult, witty approach to comedy!

Recently-divorced couple in New York City, he a book publisher and she a magazine column editor, are reunited for tax reasons and find that old spark still burning beneath the constant insults. Freely adapted from Jean Kerr's popular play, this trite material relies heavily on the dropping of famous names and places to help fill in the backgrounds of these otherwise-unreal characters (as soon as Debbie Reynolds enters, we learn that she shops at Schraff's and spends endless hours at Elizabeth Arden). This is the kind of 'cozy' movie wherein everybody has money and free time to spare, but no looming work schedule. Reynolds breathlessly keeps pace while seemingly channeling Bette Davis; it's not a bad performance, however the clucking, one-dimensional writing leaves Reynolds without the shape or the semblance of a real woman to play. The male suitors on hand (Barry Nelson as the former hubby and Michael Rennie as a movie idol) do what they can, though neither seems particularly well-suited to Debbie, and their constant back-and-forth verbal bouts are tiresome. The film is dizzyingly claustrophobic, while the few funny bits are almost buried by the plastic set-up and inert direction. ** from ****

At a (then) genuinely astounding 1,572 performances (March 8, 1961 - December 12, 1964 at the Helen Hayes and Morosco Theatres), Jean Kerr's MARY, MARY was one of the most successful boulevard comedies of all time. The all too seldom seen movie version is as nearly perfect a transfer from stage to screen as we ever had, preserving not only all the witty charm and stylish banter of the stage hit, but most of the sharp stage performances that made it a hit as well!

Of course, we know that charming Barry Nelson and suave Michael Rennie repeated their stage roles. Given his long list of screen roles as the perfect British detective, it's amazing John Cromwell didn't repeat his stage role as Oscar Nelson, the accountant who brings the formerly married but still fond Bob and Mary (Nelson and...we'll get to that) together to go over tax matters. Presumably Cromwell was busy, because the film makers went with his first stage replacement, Hiram Sherman (who did the role on Broadway from May 13 to September 1, 1963).

Diane McBain didn't do her role on Broadway, but was excellent as the deceptively pretty but self aware young thing Bob is currently dating.

The film's unappreciated coup sprang from the Hollywood gimmick of insisting on a MOVIE name to help with the box office. In this case it was the oft' over praised Debbie Reynolds, and she was just fine as the brittle but brilliant Mary.

What made it a "coup" was that Reynolds was a far better mimic than she was (based on Hollywood outings in things like THE UNSINKABLE MOLLY BROWN or BUNDLE OF JOY or her Broadway fumble in IRENE) actress. It wasn't until I saw Barbara Bel Geddes, the original Broadway Mary, years later in another Jean Kerr play on stage that I realized that what Reynolds had given us in this delightful film was Bel Geddes' original Broadway performance - very movement, gesture and vocal inflection - letter perfect!

An intimate, five character, wonderfully written comedy, and with "three and a half" of the Broadway cast. One might say "no wonder it worked so well," but also credit film producer/director Mervyn Leroy who got the appropriate screen performances (performances don't always transfer intact - stage star Stockard Channing, while fine in SIX DEGREES OF SEPARATION, isn't nearly as effective on screen as she had been on stage with better direction) and Harry Stradling's perfect cinematography for never allowing the piece to seen static, confined or "stagey."

Thank heavens for films like this that once kept mature, literate audiences both young and old coming back to the movies all the time.Modern movie fans accustomed to expect nothing but action, titillation and pratt falls in a "comedy" may be amazed how good a film can be when dialogue matters - whether in a little gem like this or in lavish, big films like MOONSTRUCK or Shakespeare IN LOVE!

To quote Bob and Mary: "Mmmm. That's good coffee!"