Ela e o Secretário

I've never seen MacMurrary of Russell give more nuanced performances than in this screwball comedy about a successful woman executive who hires a male secretary to appear conventional on social outings. What is completely surprising is the outcome isn't one that consigns either character to a rigid, gender-defined role. Sly wit and great performances throughout, albeit marred by unfortunate racial stereotypes of the time.

It's too bad that director Mitchell Leisen wasn't working today and making Take A Letter Darling. If he did there would be a whole lot more explicit gender bending in this one.

Not that this film isn't good. In fact it's witty and bright and shows Rosalind Russell at her best. In her autobiography Russell describes this film as the first in her career woman roles. I'm supposing she isn't counting His Girl Friday, I guess Russell thought that Hildy Johnson had a job as a reporter as opposed to a career. After all she was trying all through the film to get away on her elopement and honeymoon with Ralph Bellamy.

But in Take A Letter Darling, Russell is a partner with Robert Benchley in an advertising agency. She can't keep a secretary and for good reason, she's got some specific night work requirements for a secretary and she demands the male gender as requirement number one.

In the gay world that Mitchell Leisen was part of, it's called hiring a beard. So many did it back in the day when the closet ruled. Many of the gay stars were always paired with public female dates lest there be any whispers about their sexuality. I'm sure it was the same in the business world.

Russell hires free spirited artist Fred MacMurray to squire her around and keep jealous wives at bay and to deter husbands from getting any ideas about some after office frolicking. In fact she sends MacMurray out to a favorite men's shop of hers where she gets him outfitted the same way Gloria Swanson took care of William Holden in Sunset Boulevard.

In real life Russell would have hired a gay man for her purposes, but since the mere mention of gay was out of the question, the heterosexist MacMurray is hired. They double team husband and wife George Reed and Margaret Hayes to land one account.

But an even bigger challenge presents itself with brother and sister tobacco heirs, Macdonald Carey and Constance Moore. Carey's been married four times already and Moore is a mint julep sucking southern belle who looks at MacMurray like a Virginia ham.

Take A Letter Darling holds up very well today although a knowledge of the mores of the times would certainly help younger viewers. This is definitely a film that could stand a remake, a more honest and explicit film about the practice of bearding.

ROSALIND RUSSELL and FRED MacMURRAY have seldom had their flair for light comedy seen to better advantage than in TAKE A LETTER, DARLING in which the battle of the sexes involves Russell's career woman falling in love with her male secretary--really more of a personal assistant here and one she hires to make deals with clients and their wives.

MacMurray comes to resent the position he's placed in and there's some genuine wit and satisfactory situations resulting when Russell uses him to make her various deals. Predictably, she falls in love with him and it takes the whole story for the two to finally meet on common ground after a series of misunderstandings and plot complications involving MACDONALD CAREY and CONSTANCE MOORE as a brother and sister team who are both schemers who can match Russell any day.

It's all very brisk, very '40s style in the way the situations are resolved. ROBERT BENCHLEY has a more subdued role than usual in comic support.

But the chemistry between MacMurray and Russell is what keeps the whole thing bubbling along to a predictable enough conclusion.

MACDONALD CAREY has one of his better roles as "the other man" who has already had four wives and decides Russell should be his fifth.

Summing up: Amusing and well worth your time with a clever script by Claude Binyon.

Advertizing Agency Partner Rosalind Russell (A M McGregor) hires painter Fred MacMurray (Tom) as her secretary in this male/female role reversal story that both Russell and MacMurray are very at ease with. MacMurray breezes his way through the film in a very aloof Boris Johnson kind of way, while Russell is excellent in her role.

MacMurray doesn't convince as an artist but it really doesn't matter. Russell is funny as a woman in control who knows that it's a man that she needs for happiness in life. It's not a revelation of a movie but it is easy-going and enjoyable.

Opera Hat or Top Hat? Don't be a flub!

The first half-hour sparkles. Tom (Mac Murray) is hired as a male secretary to what turns out to be a female (Russell) advertising executive. Worse, A.M. (that's her name) insists the tall good-looking secretary act as her beck-and-call escort. Remember, those were the days of strictly defined gender roles that were being transgressed by the arrangement. Hence, it's a setup with all sorts of entertaining complications. Meanwhile, Tom sees his masculinity slipping away, playing second-fiddle to a woman even if she is a generous paymaster. Those early scenes crackle with amusing by-play and are beautifully performed by two of Hollywood's best. I just wish the versatile Mac Murray had gotten the recognition his talent deserves.

However, once the focus shifts to complications with the Caldwells (Carey & Moore), the movie settles into more familiar and less sparkling terrain. Nonetheless, the results remain a fine example of studio craftsmanship from the '40's. Screenwriter Binyon, for example, was renowned for the wit and satirical abilities that show up here, while director Leisen certainly had the right touch for the frothy material. Note, for example, how many of his scenes don't end with a conventional cut-away from cast principals. Instead, Leisen ends the nightclub scene with two extras engaged in some card-playing business, or the scene that ends with a bellhop extra walking a dog up the hallway. These are colorful touches from a director who obviously cares.

Anyway, in my book, the movie's an imaginative little comedy from the studio that certainly knew how to do them, Paramount.