dougdoepke Hollywood has had a long tradition of dumb blonde performers who could be counted on to produce more than their share of belly-laughs. None, however, was more expert at the trade than Judy Holiday whose untimely death robbed filmdom of one of its most accomplished comediennes. This movie, along with Born Yesterday, is among her very best, and should not be missed. Film fans may want to note that there's a direct line of descent from Holiday in this movie to Reese Witherspoon in the megahit Legally Blonde. Like Witherspoon's character in Blonde, everyone underestimates Holiday's Laura Partridge and with similarly devastating results. In both cases, it's that sweetly scatterbrained exterior that conceals a shrewd and determined inner woman, a combination which proves deadly for those who would happily exploit them. Here, it's the Board of a soulless corporation ( just then emerging from the 50's decade of growth) that falls into Holiday's trap with hilarious results. The Board itself is a stellar lineup of character actors: from the curmudgeonly Fred Clark, to the cultured John Williams, to the scheming Ray Collins, all familiar faces from the Late Late Show and pompously perfect targets for a womanly comeuppance. Holiday's pixilated exchanges with these smugly officious scofflaws are minor gems. Those interested in charting the rise of the women's movement might also note an important contrast between the two films. Holiday's character, for all her wiles and willpower, must eventually succumb in typical 50's fashion to her stronger male half as played by the always redoubtable Paul Douglas. On the other hand, Witherspoon's post-Gloria Steinam character discovers a hidden self-sufficiency that requires no Douglas counterpart, producing a typically 90's note of feminist triumph. But these are merely incidental reflections on an underrated movie that truly sparkles because of the comedic lustre of its star, the unforgettable Judy Holiday, in a role that suits her to the proverbial T.

Kirpianuscus it is the film of Judy Holliday. seductive, social critic, the unbeatable innocence who change all, the insignificant citizen who destroy Goliath. the rhythm is the key of this fresh air film, not different by many other comedies with same theme but work of inspired team, it preserves its special notes. a film who reminds Frank Capra movies atmosphere and who gives to a play new interesting nuances. a film about justice and love, using in wise manner clichés and , without give to many surprises, but proposing a coherent, nice, provocative story of courage, pure soul, success. short, one of smart films from a lost age of American cinematography, useful as recipes for the role and purpose of film in a different society for who entertainment has a more profound definition than today.

bluenotejazz It is truly rare to come across a movie that does everything so well.Conversely, it is truly sad that the 'feel good' genre of movies seem to have gone the way of the dinosaurEvery character actor here is on point. And there are plenty of them. The talent particularly of Judy Holliday cant be overstated, as she moves seemingly effortless between comedic and romantic scene changes. Even the pairing of the 'loudmouth' Paul Douglas is great for her, as the two of them trade punches with ease when their voices are turned up a few decibels. The story moves along quickly with no gaps or awkward pauses in the script, and it works up to a very Capra-like ending which practically leaves you on the edge of your seat. It's not an easy one to find, but if you come across this movie, hang on to it.

majesty This is one of the last Capra-esque, indeed Kaufman-esque, well-made movies, even though it's release was well into the fifties. The socio and geo-political ramifications perhaps resonate even more so in our post-Enron and present Halliburton era. Aside from being hilarious and utterly entertaining ( I imagine even more so on the live stage with a raucus audience), the story poses the eternal question of personal integrity, simple honesty, and common decency; and that multinational corporations and super-power governments should be less occupied with "getting away with it" or "not getting caught"; rather more so with "doing the right thing" and producing the best for everyone. This film should be taught. Instead, it's slowly disappearing from the geopolitical landscape; i.e., it's becoming harder to find in video stores.