E a Vida Continua

Never will you see a movie that mixes comedy, romance, social commentary, and drama as well as this one. In some ways this movie pre-tells the McCarthy era of the 50's. Also, this movie takes some interesting turns and does what only a handful of my favorite movies have accomplished; it does not reveal it's true dramatic arc until well into the second act.

But hey, you've got Cary Grant, Jean Arthur, Ronald Coleman, and even "Uncle Joe at the Shady Rest" having a wonderful time on-screen, and the audience goes along for the ride.

I won't hide the fact that Jean Arthur is my favorite classic era actress. She's talented, smart, funny, and had the guts to stand up to the movie moguls of the 40's, putting her career in jeopardy in the process.

Only some stiff supporting acting prevents this movie from receiving my highest rating. Check out this film and be reminded how great an "old" movie can be.

****1/2 out of *****

George Stevens had the ability to make truly memorable films out of lightweight material. "The Talk of the Town" and "The More the Merrier (1943)" were two early-40s projects that teamed Stevens up with the adorable Jean Arthur. Both would probably have been forgettable pseudo-comedies had Stevens not directed them with such a sure hand.

"Town" is a sort of strange hybrid--part screwball comedy, part political activist film. Its screenplay could probably be a little tidier, but I'm not going to complain, because I loved this movie. Cary Grant and Arthur were a terrific match for one another, and Ronald Colman makes a perfect straight man for the both of them. He plays a stuffy professor staying in Arthur's country home while he devotes himself to work. Grant shows up on the lamb for some political activism that got him in trouble, and the movie is devoted to Arthur's and Grant's antics as they first try to hide Grant's identity from Colman and then try to enlist Colman in their populist cause.

This is a great and not especially well known film from the war years. Set aside some time to enjoy it and I'm sure you won't be disappointed.

Grade: A

I don't understand why this movie isn't more popular or regarded as a classic in the canon of early Hollywood movies. All the stars are wonderful in their roles, but Ronald Coleman is fantastic as an ivory tower jurist who is forced to rethink his philosophy. Maybe Claude Rains could have played this part, but without the subtly sarcastic bemusement that Coleman brings.

Maybe because it can't be categorized definitely as a screwball comedy or a "serious" movie, it has been overlooked. I found it much funnier than "Bringing Up Baby" for example, even though "Talk" is a great deal more serious and introspective.

A lot of the suspense that might have been put into the story was bled out by the philosophical approach that the movie takes. Every potentially suspenseful situation that could have been played out for at least half of the movie is extinguished within fifteen minutes at the most. But that's part of the fun! It gets rolling, and you can't quite tell where it's going all of the time. Watching Cary Grant mug suavely and Jean Arthur speak like she's ad-libbing, you just have to sit back and enjoy it. It's not interested in manipulating its audience, it's actually trying to present real characters in a compelling story. I loved it!

Talk of the Town is an excellent combination of a screwball comedy and legal drama. Grant plays well in both genres and is aided here with very capable co-stars, Arthur and Coleman. The discussions between Dilg and the professor concerning the practical and theoretical aspects of the law are both entertaining in their tit-for-tat presentation and thought provoking in their philosophical content. Jean Arthur is also very charming as the love interest who helps move them to compromise. I thoroughly enjoyed this intelligent, witty, funny, and well-acted film and strongly recommend it, 8/10.

A superb comedy from 1942, written by Sidney Buchman and Irwin Shaw, and directed by George Stevens, this movie has a little bit of everything in it: comedy, drama, social commentary, suspense and mystery. It also features three of the most charming stars to ever grace the screen: Cary Grant, Jean Arthur and Ronald Colman. As this was filmed on the Columbia lot it has a Capra-esque feel to it. There is also a dark, austere quality to the photography and lighting that evoke the wartime mood, otherwise not evident in the film.

The story concerns Cary Grant escaping from jail and hiding out in the summer cottage of middle-aged bachelor law professor, Ronald Colman. Grant's character (named Leopold Dilg, who has a fondness for borscht with an egg in it), was falsely accused of burning down a textile mill. Jean Arthur's local gal vacillates bewteen these two very different men, who, as things turn out, get on quite well with one another. Grant teaches Colman a thing or two about real life, while Colman instructs Grant in the law. The problem is that the gentle professor doesn't know that Grant is in trouble with the law. Things gets awfully complicated near the end, as the story turns melodramatic, not altogether happily, as it had been for the most part up till this time a warm, funny study in character and mistaken identity.

Overall, the movie is hard to fault. The actors are so engaging and the dialogue so good, one can forgive almost anything. There's a nicely suggested small-town New England feel to the film, which does not caricature Yankee types, as was so often the case at the time, and is most refreshing here. Grant is, as usual, so excellent that one forgets that he is acting, as he manages to suggest working-class origins, genuine intellectual curiosity, and a hint of anger, especially in the eyes, as his performance perfectly sums up what the film is about, without drawing too much attention to itself. A remarkable achievement, for Grant, director Stevens, and everyone involved in this happy production.