“You’re a sight for an eyesore!”
A millionaire (Edward Arnold) upset that his wife (Mary Nash) has purchased yet another expensive fur coat drops it from his building, where it lands on the head of a woman (Jean Arthur) riding to work on a double-decker bus. Arthur quickly finds herself the center of attention by a clothes designer (Franklin Pangborn) and hotelier (Luis Alberni) who assume she is Arnold’s mistress, and are eager to use her as a marketing pawn. Meanwhile, Arnold’s son (Ray Milland) — attempting to earn his own money by working at an automat — meets Arthur and the two fall in love, not realizing each other’s true social status.
Preston Sturges scripted this madcap screwball comedy predicated entirely on mistaken identities, with characters making countless assumptions while literally shoving a penniless young woman into wealth and comfort she never asked for (what a dream for Depression-era audiences!). Arthur is as appealing as always (I especially enjoy the scene where she carefully covers her ceramic piggy bank’s eyes with a tissue before smashing it), and she’s surrounded by a game cast who take full advantage of the absurd comedic potential — most notably Pangborn and Alberni as men whose livelihood revolves around catering to the uber-wealthy. Unfortunately, director Mitchell Leisen keeps the pace a little too frenetic, mostly showing non-stop chaos — including plenty of (too much?) physical comedy (characters trip and fall constantly), repeated malapropisms by Alberni (see quote above) and a lot of shouting, especially in the final third.
Redeeming Qualities and Moments:
- Jean Arthur as Mary Smith
- Franklin Pangborn as Van Buren
- Memorable sets
- Sturges’ witty, madcap script
No, though it’s recommended for fans of Sturges and/or Arthur.