The Talk of the Town (1942)

   "George Stevens has adroitly directed the three principals and the fine supporting cast..."

With Ronald Colman and Jean Arthur.

The Talk of the Town - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"My gripe with The Talk of the Town is the same complaint that I had against similar serio-comedies: Mr. Smith Goes to Washington, Mr. Deeds Goes to Town, Meet John Doe.  It is only by a sudden fluke in the finale and a quick action on the part of one of the characters that a dreadful miscarriage of justice in this democracy is averted.  Along with our debates on the practical vs. the theoretical aspects of law and justice, we are served some witty repartee and some very funny situations.  George Stevens has adroitly directed the three principals and the fine supporting cast, including Edgar Buchanan, Glenda Farrell, Rex Ingram.  If any one performance stands out, it is that of Mr. Colman.  But still, when all the humor and wit are done, there remains the fact that but for Colman's last-minute rescue, Grant would have died at the hands of lynchers; and a mob, even in the cultured state of Massachusetts, is an army of blood thirsty beasts.  Just because it is an American mob makes its crime no more serious than a mob of Nazis.  If Mr. Stevens could have ended his film before the lynching scene (the whole is much too long anyway), he would have had a first-rate serio-comedy.  As it is we have to take the film's warm and human glow with a grain of salt while we lament our own lynching problem in a world that is crying for law and adjustment." 

- Philip T Hartung, The Commonweal

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Number 41 - The Talk of the Town (Lobby Card Style)

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In Name Only (1939)

  "No surprises are the easy ad-libbish styles of Stars Grant and Lombard..."

With Carole Lombard.

In Name Only - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"In Name Only will puzzle cinemagoers who thought they knew just what high jinks to expect when Screwball Cary Grant falls in love with Screwball Carole Lombard.  Far from high jinks is the somber situation of rich young Alec Walker when he falls in love with Julie Eden, a widowed commercial artist who has taken a summer cottage near his stately county seat.  For, as rarely happens in a screwball comedy but is very likely to happen in life, Alec has a tenacious wife with an undeveloped sense of humor, parents who also thought infidelity no joke.  Before Lovers Grant and Lombard fight through to the clear, they have traded more punches than puns, emerged with the realization that matrimony is more than the off-screen ending to a Grant-Lombard movie.  

A mature, meaty picture, based on the novel Memory of Love, by veteran bucolic Bessie Brewer (wife of muralist Henry Varnum Poor), In Name Only has its many knowing touches deftly underscored by Director John Cromwell, brought out by a smoothly functioning cast.  No surprises are the easy ad-libbish styles of Stars Grant and Lombard, the enameled professional finish of oldtime Actor Charles Coburn as Alec's conventional father.  Surprising to many cinemaddicts, however, will be the effectively venomous performance, as Alec's mercenary wife, of Cinemactress Kay Francis.  Having worked out a long-term contract with Warner Bros. which kept her in the top money (over $5,000 a week) but buried her as the suffering woman in a string of B pictures, sleek Cinemactress Francis in her first free-lance job shows that she still belongs in the A's, that, properly encouraged, she can pronounce the letter r without wobbling."

- Time

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Number 34 - In Name Only (Lobby Card Style)

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Devil and the Deep (1932)

 "...the best dramatic talkie we have yet seen."

With Tallulah Bankhead.

Devil and the Deep - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"The Picture is, in my opinion, the best dramatic talkie we have yet seen.  It is unabashed melodrama at times, but Charles Laughton's magnificent acting disarms criticism of the more violently sensational incidents.  He appears as the jealous, half-demented commander of a submarine, stationed on the West African coast.  His wife, played by Tallulah Bankhead, has endured five years of hell through his insane jealousy, but to the world at large he appears as a goodnatured fellow with an impossible wife.  At length, driven from home by a maniacal outburst of rage, Tallulah meets Gary Cooper and succumbs to his manly charms, only to discover, the next morning, that he is the newly arrived second officer.  

The submarine leaves port for diving maneuvers, and, through an accident, Tallulah is on board, with her half-mad husband and unsuspecting lover.  The vessel is rammed by a liner, owing to the machinations of Laughton, and the crew are entombed at the bottom of the sea.  This sequence is admirably done, in spite of the occasional use of models in the shooting.  The half-mad commander orders his second officer to be arrested, but Tallulah reveals her husband's insanity, and one by one the crew make their escape by means of the emergency apparatus.  

Only Laughton is left behind, and as he smashes his wife's portrait to atoms with an axe, the water rushes in and he is drowned in his cabin.  Tallulah Bankhead has better opportunities than of late as the distrait wife, but she is overshadowed by Laughton's amazing performance.  Gary Cooper is completely negligible as the lover."

- David Fairweather, Theatre World

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Number 4 - Devil and the Deep (Lobby Card Style)

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Ladies Should Listen (1934)

  "A good deal of it is actually unfunny, and all of it is too synthetic."

With Frances Drake.

Ladies Should Listen - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"Basically there may have been enough comedy and farce possibility in this story, but as handled, it emerges a much too highly strained attempt at farce.  A good deal of it is actually unfunny, and all of it is too synthetic.  

Cary Grant is brutally miscast as a philandering young Parisian.  He plays the part for comedy, miscuing several times.  On the other hand, Frances Drake as his vis-a-vis, a nosey telephone girl, who listens in on conversations and has a habit of trying to straighten things out for other people, turns in her best performance yet and does much to establish herself.  

Picture allows Charles Ray to make a film comeback in a very minor role.  Handles a comedy bit very effectively and ought to be able to go places again.  

Claude Binyon and Frank Butler overworked hoke and puns in their adaptation, and these were all overstrained in the direction." 

- Wolfe Kaufman, Variety

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Number 17 - Ladies Should Listen (Lobby Card Style)

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To Catch A Thief (1955)

      " ...a high-polish job, a kind of reversion to the urbanities of a gentleman Raffles..."

With Grace Kelly.

To Catch A Thief - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"Has Alfred Hitchcock over-refined his technique?  There are those who will say yes after seeing his To Catch A Thief, but this fan is quite happy with Hitchcock as he is.  In his latest mystery, the emphasis is less on the mystery than on the incidental mechanics that develop it, much as it was in Rear Window, though here the plot is even thinner.  

Nevertheless, it is a high-polish job, a kind of reversion to the urbanities of a gentleman Raffles, with Cary Grant and Grace Kelly ideal in the romantic leads."

- Philip K. Scheuer, Los Angeles Times

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Number 60 - To Catch A Thief (Lobby Card Style)

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