jarrodmcdonald-1 Jean Arthur is enjoyable in many films and makes motion picture acting look effortless. But it must be said that she gives a particularly extraordinary performance here. She more than makes up for Preston Sturges' script, which is dated-- by modern standards, and probably when it first was shown back in the late 1930s. As always with a story by Sturges, the humor is over the top. But Arthur and her costars are able to inject much-needed doses of realism. Mitchell Leisen's superb direction helps, too; and his background in art design pays off handsomely in this production, since the plot involves relocating our gal from a run-down apartment to a posh hotel suite. The hotel set is elaborately decorated, and it fosters the illusion that in these digs, life is easy to live.

bkoganbing According to a recent biography of Jean Arthur, Easy Living only got a so-so reception from the movie-going public of 1937. Today it is rightly regarded as a screwball comedy classic from the era that invented and defined that genre. The miracle was that it got made at all.Jean Arthur was obligated to Columbia Pictures and the dictatorial Harry Cohn and she was allowed to make outside films. But Cohn determined when and where. So Easy Living may have been a great fit for her, but it didn't fit into his plans. Jean had to go to court before the film was made and a settlement was reached.Easy Living also gave an outlet for some unknown comic talents of Edward Arnold who usually played some serious villains in films. Arnold is a Wall Street investment tycoon whose every bit of noise be it wisdom or flatulence is recorded for posterity. One day in fit of pique against his spendthrift wife Mary Nash and wastrel son Ray Milland, Arnold throws a most expensive mink coat from out the townhouse window and on to a passing working woman in Jean Arthur. He tells her to keep the thing and count her good fortune. But folks are in the habit of recording Arnold's every move, including one bestowing an expensive gift on a mystery woman.That starts about 90 minutes of non-stop hilarity in which the very foundations of our financial institutions are rocked due ultimately everyone misconstruing a relationship between Arnold and Arthur. One does get going however with Arthur and Milland when she finds him working at an automat because Arnold's dared him to get a job. That ends in an incredible burst of hilarity, you think Animal House had a great food fight, check the one in Easy Living out.Directed by Mitchell Leisen and written by Preston Sturges, Easy Living has all the earmarks of a Preston Sturges directed movie, in fact Sturges's stock company was somewhat assembled here if you look down the supporting players. My favorite is Luis Alberni whose white elephant of a hotel finally gets going due to some accidental rumors.We're the richer for Easy Living being made even if Jean Arthur had to take Harry Cohn to court to do it.

Neil Doyle JEAN ARTHUR as a down on her luck secretary (who pays $7 a week for an apartment) is suddenly blessed with a luxurious hotel suite and a sable coat thanks to the whims of fate in this delightful '30s-era comedy co-starring EDWARD ARNOLD (a bit too bombastic for my taste) and RAY MILLAND (charming and debonair as the romantic lead).Arthur has never been more personable and inhabits her role with a good deal of personal charm and warmth, perhaps attributable to director Mitchel Leisen who always seems to coax good performances from his female stars. (Claudette Colbert in "Midnight", Carole Lombard in "Hands Across the Table", Olivia de Havilland in "Hold Back the Dawn" and "To Each His Own", Barbara Stanwyck in "No Man of Her Own".) Arnold is a hot tempered man who throws a fur coat over the rooftop during an argument with his frivolous wife (MARY NASH), a coat that lands on top of Jean Arthur, riding in a double-decker bus in New York City. The plot thickens when a hotel owner (LUIS ALBERNI) facing bankrupt with his fancy but vacant building, decides that Arthur will be the perfect publicity gimmick since he believes she was given the coat because of an affair with Arnold. He allows her to reside in a luxurious suite (Leisen goes a bit overboard on set decoration here), and therein the fun begins. Seems he has a rich playboy son who is just as down on his luck as Arthur is and is working in an automat, the kind of fast food restaurant that existed in NYC during the '30s and '40s.In fact, the automat scene, where Milland finds a way to give Arthur a free meal, is expertly staged with every pratfall so perfectly executed that it remains the highlight of the film. But even after this highlight, the film never lets up in pace and is irresistible entertainment for fans of screwball comedy. Among the standouts in the supporting cast are FRANKLIN PANGBORN and WILLIAM DEMAREST, actors director Leisen would use to great effect in other comedies.Edward Arnold tends to overact the part of the wealthy hot-tempered tycoon, but everyone else has a fine time with the witty lines and situations. Highly recommended, brisk and very amusing, with Arthur in one of her most appealing roles.

barrymn1 All of the above statements are right on the money; this 1/2 slapstick, 1/2 sophisticated comedy is one of the all-time best of the 1930's. Jean Arthur is simply wonderful, Edward Arnold is great too....as is the young and up-and-coming Ray Milland. In fact, there isn't one single bad performance in this perfect Preston Sturges comedy. Even Michell Leisen often flat direction is pretty darn good here.Here's a bit of trivia: all of the jewels and furs used for this film were REAL and worth tens-of-thousands of dollars. I've read that there were security guards posted during the filming....so be sure that none of the jewels were stolen.It's really quite amazing that Leisen and Sturges got Paramount to rent all of these expensive furs and jewels.....If only Universal (the current owners of this classic) would get around to releasing this film on DVD.......