Very best movie i ever watch

Sorry, this movie sucks

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

An old-fashioned movie made with new-fashioned finesse.

This film brings us Rex Harrison already foreshadowing Professor Higgins. He tries out the arrogant, picayune, verbally acute role and is absolutely successful. The seed is planted and we, who know what is to come twenty years hence, rub our hands gleefully in anticipation of Higgins. But Linda Darnell is no Eliza. Instead, she is a loving, docile, trusting wife, already dressed as though she will be meeting the Queen and looking beautiful and so very desirable.The dialog crackles and moves fast. Only Rex Harrison and perhaps Cary Grant could have have delivered with the wit and brio that Sturges deserved.There are two extended slapstick scenes that should have been cut shorter.Edgar Kennedy as a Private Eye has a couple of great scenes when he turns out to be a classical music devotee and is knowledgeably enthusiastic about Harrison's conducting.A digression: Harrison tosses a couple of tickets to the Philharmonic concert, they are orchestra tickets a few rows from the front row. Price $3.80, designated as "Patron"' seats.

Writer director Preston Sturges made a habit out of kicking the legs out from under some of our most cherished virtues, and he turned his attention to the sanctity of marriage in this late career classic: a dark and malicious (but no less hilarious) comedy easily several decades ahead of its time. The vow 'til death do us part' takes on an entirely new meaning when a world-renowned symphony conductor (Rex Harrison) begins to question the fidelity of his beautiful young wife, and while in concert is inspired to fantasies of revenge, noble sacrifice, and suicidal self-pity by the music of (respectively) Rossini, Wagner, and Tchaikovsky.This is Preston Sturges at his iconoclastic best, sharpening his trademark wit to a keenness matched only by the startling, contrasting darkness of his humor. Notice how the catharsis of Rex Harrison's murderous daydreams lends an emotional brilliance to his interpretation of each musical score, and note too the malicious glee he takes in slashing his wife's pretty neck with a straight razor, and later watching his bête noir consigned to the electric chair.Harrison's dapper English urbanity was perfectly suited to Sturges' unique, demented brand of verbal hysteria; one need only imagine Dudley Moore in the same role in the inevitable 1984 remake to appreciate the sophistication of the original. Sturges was not unaccustomed to getting away with murder in his comedies, but it's hard to believe a film of such daring poor taste could ever have been made under the moral straightjacket of mid-1940s Hollywood. Like all of the director's best efforts it hasn't aged a day since, and if anything is even funnier (and more chilling) when seen today.

A conductor suspects his wife of cheating and dreams up elaborate plots to exact revenge. This was the last hurrah for Sturges, the greatest comedy writer/director of the 1940s. While not as polished as such early masterpieces as "The Lady Eve" and "Sullivan's Travels," it is quite amusing. Harrison is well cast as the flustered conductor, although he tends to deliver his lines so rapidly at times that subtitles would have been helpful. Darnell looks gorgeous as his wife, and Vallee is funny as his brother-in-law. The scenes with the recording machine are hilarious. Rossini's "Semiramide" Overture gets quite a workout, played three times in its entirety.

This is what we might call late-blooming Sturges coming as it did four years after his last Paramount movie and having written and directed eight movies for that studio between 1940 and 1944, the majority of which were successful he was arguably entitled to both a break and a different studio. It was Fox who were to benefit from the breach with Paramount and Sturges got to feature Fox contract player Linda Darnell plus Rex Harrison, who was still hanging around the Lot after shooting Anna And The King Of Siam there a couple of years earlier. In fact Linda Darnell played very much the same role she plays here - an ordinary girl who lucks into a rich older man - as she did for Mank the next year in A Letter To Three Wives where she substituted Harrison for Paul Douglas. This is at its heart a very bitter black comedy but perhaps because he thought it too dark himself or perhaps because he was 'persuaded' by the Front Office, Sturges leavened it from about the seventh or eighth reel with some hopelessly unfunny slapstick involving Harrison who is, above all else, at home with verbal comedy. There are certainly fine moments and the beginning is studded with Sturges one-liners but the ultimate effect is of an unsuccessful meld of bleak humor and slapstick.