Le retour à l'amour

Lucille Ball (Kay) gets mixed up in a comedy of misunderstandings with husband George Brent (Bill). The trouble is that there is absolutely no comedy.

Unfortunately this film has no zip. It is devoid of any humour and has annoying slapstick sequences that drag on and on. One example occurs towards the end of the film with Ball and Brent walking about in the same apartment but both unaware that the other is in the same apartment. That sequence really drags.

It also doesn't help that the characters aren't very bright. Ball is stupid to accept her husband's philandering with other women and Brent is just completely unlikeable. In fact, all the men are written as complete idiots and the script is transparent and obvious. The forced characterizations are insulting to the audience, eg, giving the male characters a jealous streak that just renders them unpleasant, and the women are all-knowing and all-forgiving. What a load of junk.

You'll do well if you stay awake with this film. It's rubbish.

This little romantic comedy doesn't break any new ground with a plot that has been done a dozen times before. However, when you get past that it is a very watchable film mainly due to pretty Lucille Ball. This vehicle features a very sophisticated character for Lucy to play, and she handles the task flawlessly.

Lucy's wardrobe for this film is 40's high fashion at it's best and that combined with some very glamorous hairstyles make for a rare glimpse of Lucille Ball the Glamour Queen.

If you can find it give it a look, you'll be pleasantly surprised.

Lucille Ball stars as Kay Williams, a woman who discovers her beloved husband wasn't faithful while away as a war correspondent and reacts by planting clues that she hadn't been faithful either. This film is cute, and thinly plotted. It is a good showcase for Ball, who also is given a great wardrobe, designed by Travis Banton and Al Teitelbaum. George Brent plays her husband, Bill. It is nice to see him in a comedic role. Vera Zorina plays a woman who Bill had been romancing on the side, and while her acting is mediocre, her looks are stunning.

There are great supporting players, especially Raymond Walburn, Carl Esmond, and William Wright as eager suitors of Kay's, and Charles Winninger and Elisabeth Risdon as Bill's fuming father and tolerant mother. Louise Beavers is also a delight as Kay's jovial maid, Martha, and it is a typical role for a black actress of the time.

The script is often times silly, but the story is not dull, and the film does have some fun moments for Ball's comedic chops as well as Brent's. Throughout I was smiling and giggling, and I think that was the intent of the filmmakers.