Teu Nome é Mulher

I thought the film had some enjoyable performances. Peck is a little wooden but perhaps this was meant to be part of his character. I liked the hoodlums very much and they seemed to be enjoying themselves. The monologues by the characters work very well and the film still surprises and entertains the viewer.

Vincent Minnelli directed this movie with verve. The idea of the movie came from MGM's designer Helen Rose, a woman who knew about fashions. The screen play by George Wells, works well in the beginning of the movie.

The idea of bringing together these two different people had already been done, especially as vehicles for Spencer Tracy and Katherine Hepburn. The allure here lies on the stars. Gregory Peck and Lauren Bacall made an excellent couple.

Lauren Bacall, at the height of her beauty, comes out best. She was a fine comedy actress who had a sense of style and timing. In portraying Marilla, Ms. Bacall offers a side of her that hadn't been tapped before, having been seen in heavier roles. This movie seems to have been tailor made for her.

As the sports writer, Gregory Peck, plays comedy, which was not his forte. At times, he appears wooden, but it probably was the direction from Mr. Minnelli, who wanted to show the big contrast between the lovers. Mr. Peck's Mike Hagan is completely different from his role in "Roman Holiday", but he carries it off and shows he was having a great time playing this sports reporter.

Dolores Gray, as Lori Shannon, has a few good moments playing the woman that is dumped by her steady boyfriend. There are a lot of familiar faces in the cast. Sam Levene, Tom Helmore, Mickey Shaugnessy, Jesse White, Chuck Connors, Edward Platt and Jack Cole, who plays the part of the Broadway choreographer that makes a statement of not being gay, when everyone can see otherwise!

A harmless, delightful screwball comedy of 1950s, starring Mr. nice guy Gregory Peck and ice queen Lauren Bacall. I cannot say this film fully exploited both stars' spellbinding charm and 120-minutes is rather too long (there were several times sleepiness almost predominated me). Also the supporting cast is meagre except a foolishly amusing performance by Mickey Shaughnessy as the punchy boxer/bodyguard.

The Oscar-winning script deserves more chewing to relish the tit-for-tat rivalry between two leads, after an unexpected flash marriage, they realize that they ought to overcome many differences between them to make their wedlock work.

One might feel distanced about being alarmed when the wife found out that her husband hid a picture of a beautiful lady from her, then made a fuss about it, and the discrepant milieu of sport reporter and fashion designer is also over-exaggerated, which all tamper the appreciations from my peers.

The end actually ended in a mess, the action part is annoying more than ridiculous, the choreography-cum-combat contrivance is rather a solid laughingstock than an innovation.

Nevertheless, for whom I consider a nostalgic spectator of Hollywood in the Golden Age, this film could satisfy you in every respect.

It's not exceptionally funny or momentous, just pleasant in the same agreeably polished sort of way the Rock Hudson-Doris Day comedies are. Peck is a New York sports writer who meets Bacall's fashion designer while on leave in California at a posh hotel. They marry on a whim after a brief courtship and soon discover their clashing lifestyles will be a greater problem than they anticipated. Delores Gray plays Peck's old flame who isn't quite ready to fade into the background; Sam Levene and Tom Helmore lend capable support as Peck's editor and Bacall's business partner, respectively. A minor Minnelli production that breaks no new ground, it's a delightful diversion all the same.

I was born in 64 and grew up watching all those great (and not so great) old movies from the 30s onwards on TV. My love of cinema continued and I've been an avid moviegoer ever since. I am sad that as most of these movies are no longer shown on TV, audiences are not exposed to them and therefore don't see their value. Many young people couldn't contemplate watching a B&W movie under any circumstances. Amongst my own world I often encourage them to watch a rare appearance of an old 'classic' in the streaming schedules. That said, I watched this film today (2023) and whilst I recognised it as a film I enjoyed 40 years ago, its polite sexism undermines any enjoyment today. It makes the leading man seem narrow and shows a fragile ego (and if you can do that to Peck, there's no hope for any other chap). And it makes the leading lady seem silly and childish (which because Bacall could never be that, makes her character a bit unbelievable). It occurs to me that this is a problem with many American movies of the 50s, and that it strangely doesn't apply to the output of the 30s and 40s. I suspect its because of the post war desire to put women back in their place (the home etc). These mainstream 50s movies despite their amazing design and production values and the charismatic stars of the day, really are becoming anachronistic in ways that 'suspension of disbelief' cant overcome (at least not at this distance). I recently watched Pillow Talk, the Doris Day/Rock Hudson vehicle that is probably the best example of this genre. I must say it stands up well. I think the script and the direction there are pacier and funnier, and maybe precisely because it is the most extreme example of this genre (virginal almost 40 years old Doris and closeted Gay icon Rock) it stands outside it now, we enjoy the game knowingly. The same can't work here, and doesn't. Pity, there are still things to enjoy, but it has too many cringe inducing cliches even for a sixty year old white male like me, so god knows what the young would say, with their intolerance of other spheres etc.