Something old, something new, something borrowed, something blue is the nature of Move Over, Darling, a reproduction of the 1940 romantic comedy My Favorite Wife, which costarred Cary Grant and Irene Dunne.
Its complicated history is revealed in the writing credit: screenplay by Hal Kanter and Jack Sher based on a screenplay by Bella Spewack and Samuel Spewack from a story by Bella Spewack, Samuel Spewack and Leo McCarey.
The ‘old’ is the basic yarn about the guy who remarries five years after his first wife is thought to have perished only to have his first wife turn up alive and kicking at the outset of his honeymoon. The ‘new’ are the chiefly lacklustre embellishments tagged on. The ‘borrowed’, to cite one example, is a telephone sequence that owes more than a little something to Shelley Berman. The ‘blue’ isn’t of a really offensive nature.
Doris Day and James Garner play it to the hilt, comically, dramatically and last, but not least (particularly in the case of the former), athletically. What is missing in their portrayals is a light touch -# the ability to humorously convey with a subtle eyelash-bat or eyebrow-arch what it tends to take them a kick in the shins to accomplish.
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Others of prominence in the cast are Polly Bergen as the sexually-obsessed second wife (it’s never really much of a contest between her and Day), Thelma Ritter as the understanding mother-in-law, and Chuck Connors as the male animal who shared the small island hunk of real estate alone with Day for five years.