There was considerable ballyhoo when RKO announced Gloria Swanson was back for a lead role in this sparkling romantic comedy. The dynamic actress, perhaps a bit too dynamic for a routine farce, had been on an acting hiatus for seven years. Her return to moviemaking was supposed to start a new chapter in her illustrious screen career. Unfortunately, FATHER TAKES A WIFE underperformed at the box office, so Swanson's real comeback would not occur until 1950's SUNSET BLVD.
The details for this film on the AFI website say that Swanson and leading man Adolphe Menjou, who is actually billed over her, had previously costarred in the 1920s. That is not true. Neither one had previously been in a film together. But it's clear they have a strong rapport, which lends a great deal of oomph to their scenes together. Swanson is cast as a glamorous actress (what else), and Menjou plays a conservative business tycoon who is reinvigorated by a midlife romance with her. A whirlwind courtship quickly leads to marriage.
In addition to working with Menjou, Swanson also shares scenes with young Desi Arnaz as a latin lover type interloper. In fact the scenes with Arnaz are probably the best part of the film. Not only is Arnaz in his prime, he's very funny with occasional bits that play up his otherness. He is first glimpsed as a stowaway on a honeymoon cruise that Swanson and Menjou are enjoying.
They feel sorry for Arnaz and take him back home to their lavish upscale digs in New York. Of course, there is very little talk about immigration papers; or if he has a family anywhere. But you just have to go along with these contrivances for the sake of comedy.
It seems a tad obvious that the screenwriters (brother and sister team of Dorothy & Herbie Fields) have seen MY MAN GODFREY and are taking their cue from that earlier picture. Though this effort is not as outlandish, we still have an over-the-top wife who is mentoring a foreign protege (the way Alice Brady interacted with Mischa Auer in the previous film)...since Swanson decides she will help Arnaz become the next big singing sensation. Moments where Arnaz is practicing operatic music, which nearly drive Menjou and his son (John Howard) up the wall, are fitfully amusing to watch.
In a way it's a shame this film didn't do better with contemporary audiences. Parts of the narrative are quite charming. It's not laugh out loud funny, but there are plenty of quirky characters to keep one engaged. Besides the cast I've already mentioned, we have Neil Hamilton as a persistent admirer. And Helen Broderick is also on hand to offer up sardonic quips as a character named Aunt Julie. Not sure if she was meant to be Swanson's aunt; or if that was just a pet name. At any rate, she joins the family after the Swanson-Menjou marriage occurs.
For the most part this is a pleasant way to spend 79 minutes. There are certainly worse romantic comedies from the same era. Ably assisted by her talented costars, Swanson is the main attraction.
The details for this film on the AFI website say that Swanson and leading man Adolphe Menjou, who is actually billed over her, had previously costarred in the 1920s. That is not true. Neither one had previously been in a film together. But it's clear they have a strong rapport, which lends a great deal of oomph to their scenes together. Swanson is cast as a glamorous actress (what else), and Menjou plays a conservative business tycoon who is reinvigorated by a midlife romance with her. A whirlwind courtship quickly leads to marriage.
In addition to working with Menjou, Swanson also shares scenes with young Desi Arnaz as a latin lover type interloper. In fact the scenes with Arnaz are probably the best part of the film. Not only is Arnaz in his prime, he's very funny with occasional bits that play up his otherness. He is first glimpsed as a stowaway on a honeymoon cruise that Swanson and Menjou are enjoying.
They feel sorry for Arnaz and take him back home to their lavish upscale digs in New York. Of course, there is very little talk about immigration papers; or if he has a family anywhere. But you just have to go along with these contrivances for the sake of comedy.
It seems a tad obvious that the screenwriters (brother and sister team of Dorothy & Herbie Fields) have seen MY MAN GODFREY and are taking their cue from that earlier picture. Though this effort is not as outlandish, we still have an over-the-top wife who is mentoring a foreign protege (the way Alice Brady interacted with Mischa Auer in the previous film)...since Swanson decides she will help Arnaz become the next big singing sensation. Moments where Arnaz is practicing operatic music, which nearly drive Menjou and his son (John Howard) up the wall, are fitfully amusing to watch.
In a way it's a shame this film didn't do better with contemporary audiences. Parts of the narrative are quite charming. It's not laugh out loud funny, but there are plenty of quirky characters to keep one engaged. Besides the cast I've already mentioned, we have Neil Hamilton as a persistent admirer. And Helen Broderick is also on hand to offer up sardonic quips as a character named Aunt Julie. Not sure if she was meant to be Swanson's aunt; or if that was just a pet name. At any rate, she joins the family after the Swanson-Menjou marriage occurs.
For the most part this is a pleasant way to spend 79 minutes. There are certainly worse romantic comedies from the same era. Ably assisted by her talented costars, Swanson is the main attraction.