This film version of Elmer Rice's smash play has strong comedy, with a few moving scenes. It has romantic appeal, lots of color and action, and a satisfying ending.
This film version of Elmer Rice’s smash play has strong comedy, with a few moving scenes. It has romantic appeal, lots of color and action, and a satisfying ending.
The screen treatment is naturally, and perhaps properly, broader than the original play. This results primarily from the production and Mitchell Leisen’s direction rather than from the Arthur Sheekman adaptation. Thus, the film turns the play’s humor into outright comedy and sometimes into slapstick.
This broadening treatment applies to practically every phase of the picture. For instance, the fact that the heroine is a chronic day-dreamer isn’t left to the yarn’s title and the use of fade-into-reverie technique, but is put into explicit words by an off-screen voice, at the very start.
This sledgehammer treatment provides some very funny scenes, as when the heroine daydreams her sister’s wedding in terms of school-girl sentimentality, when she fancies herself a fallen woman committing suicide in a tawdry cabaret.
As the self-preoccupied heroine, Betty Hutton gives one of her most skillful performances to date. Besides her familiar vitality and drive, she underscores the comedy in the part and does reasonably well dramatically.