Le diable s'en mêle

This film is under the radar for one reason only: character actors Charles Coburn and Spring Byington step from behind the shadow of the leads and take a bite out of the script themselves, and man, what a bite. Not to say that Jean Arthur and Robert Cummings don't do their part, because they do, but the emphasis here is on the old folks for a change, and its a refreshing change. There's also a scene on Coney Island, back when it was the shizzle, and its a wonderful scene for warmly placing you there in the midst of a steaming humanity all trying to cool off. There's a Caprasque story impetus about the problems of the rich versus the poor, along with some liberal solutions to those problems, but what's really nice is about watching folks who are past redemption finding it at the most unexpected time of life. Hope for everyone here. Too bad its only a movie.

The Devil And Miss Jones was the first film of which there were to be many in which Frank Ross produced and his wife Jean Arthur starred for RKO. The team did do one other, A Lady Takes A Chance, and Ross did some writing for The More The Merrier, but the Ross/Arthur marriage was breaking up and no more films followed.

That's a pity because The Devil And Miss Jones is a sparkling comedy about a very rich man who goes incognito among his employees to see how they live.

Of course that's not what Charles Coburn's original intent. Coburn has a passion for anonymity the same way Donald Trump loves seeing his name in the papers. When this reclusive millionaire gets picketed at his home by workers from a department store that's one of his minor holdings, Coburn isn't happy. He decides to find out just who the leftwing subversives are and takes a job as a shoe salesman in said department store.

What he does find that is that the place is run by a gang of petty tyrants, using and abusing the authority of his name. He also gets to know the union heads who in this case are a young couple, Jean Arthur and Robert Cummings.

But what really made The Devil And Miss Jones sparkle was the October romance of Coburn and Arthur's friend Spring Byington. They just might qualify as the oldest romantic coupling in film history. But they were a delightful pair. I'll bet when Coburn was young the women threw themselves at him like crazy. But as he got older and cynical it wasn't what he wanted, a trophy wife was not on the list. Some real love was just what Coburn needed.

The Devil And Miss Jones got two Oscar nominations, for Best Original Screenplay for Norman Krasna and for Best Supporting Actor for Charles Coburn. He lost the race to Donald Crisp for How Green Was My Valley which really was a supporting role. Coburn in fact is in the lead, he has more screen time than either Arthur or Cummings.

Jean Arthur was a wise woman, she could have pulled star rank with the producer and gotten more time, but she knew that Coburn was the one who made the film.

This was a timely film then and still topical now. Organized labor was gaining the right to collective bargaining under the Wagner Act in those years and the papers were full of places like this department store finally gaining a union shop. It's something that labor still fights for though on different fronts today.

As a political film, The Devil And Miss Jones is very much relevant today. As a comedy it's still very funny as Charles Coburn learns that real love is something all his money can't buy.

I saw this movie for the first time on TCM, during their run-up to the 2005 Oscars. I expected quaint, cute, pleasant. What I got was much more: strong writing and characters, believable performances, a sure hand of the director who knew how to make comedy work on-screen, an interesting story with plot twists. Even after more than six decades, this comedy still works well. Today's comedy directors and writers could learn a lot from this film: how to make the situations and characters work without shoving in the audience's face. Sam Wood gives the audience for this film some credit for intelligence, and lets the strength of the script and actors emerge. For the first time, I realized just what fine actors are Charles Coburn and Jean Arthur.

I saw "The Devil and Miss Jones" two nights ago. What a joy Jean Arthur was to watch. Truly, the teaming of Charles Coburn and Jean Arthur needs to be celebrated. It has been ignored for too long! They play off each other as Powell and Loy, Laurel and Hardy, and Tracy and Hepburn did. Jean Arthur was never lovelier (as a brunette!). Robert Cummings never had a showier role nor one in which he displayed bite and a strong, leading-man presence. The script accurately conveys the times in which it was written. The scenes of how it was for people in large cities to work and entertain themselves during the Depression is priceless in its accuracy, a time capsule showing future Americans the Great Depression and its legacy. The playing of Arthur, Coburn, Cummings, and Spring Byington as well as the editing give "The Devil and Miss Jones" a playful, lyrical, yet sassy tone. A true rarity for a film with this type of plot to pull off yet it did, brilliantly. This film deserves greater critical and public reevaluation.

It's so full of good, common sense, compassion, wit and joy, that I can barely believe it. How depressing that this masterpiece should never be shown on TV (to my knowledge). It is not the first time that Norman Krasna has drawn my attention. This man is a genius. He writes with a total, unflagging self-assurance and perfection. This movie just cannot be improved upon. There are really no faults in it. The humor is funny without being demeaning, there is not the slightest mistake in taste or judgment. What makes it even more astonishing is that it was made during war time, when patriotism tends to cause people to become sentimental. This movie doesn't spare its country one whit. It does not include some "bad apples" among the workers. On the contrary, it implies that those who are usually referred to as bad apples are in fact the good ones! This movie is very much in the spirit of Frank Capra, and his rooting for the little man, but it outdoes Capra at his own game. There is more Capra in this movie than in all Capra movies put together. Krasna doesn't just root for the underdog, he fights his battles and he WINS! (1990 diary entry).