An occasional series where I review a randomly selected movie directed by Alfred Hitchcock…
Spoiler warning: these reviews reveal plot twists.
After a couple realise they’re marriage isn’t legal, they go their separate ways, but find it hard to let go…
Hitchcock later claimed he only took on this project as a favour to its leading actress, Carole Lombard. She was one of the biggest – and most highly paid – stars of the age. Hitch was a fan and had wanted to make a serious film with her, but after a short sabbatical she was keen on a return to the genre that had made her name: screwball comedy. (Tragically, it was one of her last films: Lombard was killed in a plane crash just a year after Mr & Mrs Smith was released.)
The pair had a relationship of mutual respect and affection. He allowed her to direct his ubiquitous cameo and she delighted in making him do multiple retakes; she also poked fun at his comment that ‘actors are cattle’ but arranging to have three heifers brought into the studio with actors’ names on their hides. However, this behind-the-scenes fun doesn’t translate onto the screen. The movie Hitchcock and Lombard made together feels very much like something produced by an assembly line. It lacks zip and punch and too many sequences fall flat.
Married couple Ann (Lombard) and David (Robert Montgomery) make up after a three-day row, though in the name of full disclosure he admits that, if given his time again, he wouldn’t have got married. He loves her and wants to be with her, but can’t resist admitting that he regrets getting tied down. Then a man shows up at David’s office (played by Charles Halton, the bank inspector from It’s a Wonderful Life) and reveals some shock news. Due to boundary changes in Idaho, David and Ann’s marriage is not legal. The man coincidentally knows Ann from her childhood so then, without David’s knowledge, seeks her out and tells her the same news.
So later that night, as the couple go to an old haunt for dinner – which is owned by William Edmunds, another It’s a Wonderful Life alumnus – there’s tension in the air. Ann has assumed David will tell her the news then suggest they make their common-law marriage legal by ‘remarrying’. But she gets increasingly frustrated as he plays dumb and doesn’t mention the development.
Finally she snaps and explodes into a rage (the momentary increase in energy is a rare instance of the movie coming alive). She throws him out, their relationship over. In a case of be-careful-what-you-wish-for, though, David then gets jealous of Anne moving on with her life. He eventually tails her as she goes on a wintery holiday with new boyfriend Jeff (Gene Raymond) and – wouldn’t you just know it? – the movie ends with the pair reconciling.
At the time this film was made, there was a real vogue in Hollywood for screwball comedies: light-hearted romcoms with rat-a-tat dialogue, sharply written romances and a battle of the sexes where the female character is at least the equal of the male. In 1934, Frank Capra’s It Happened One Night had become the first film to win all five major Oscars; in the three years before Mr & Mrs Smith, Howard Hawks had directed two of the very best examples – Bringing Up Baby (1938) and His Girl Friday (1940), both starring future Hitchcock regular Cary Grant. Sadly, judged in that company, Mr & Mrs Smith seems staggeringly slow and ploddingly predictable. Lombard and Montgomery are far from awful, but you can’t help but imagine snappier dialogue and pacier scenes and other, better actors in the roles. Hitchcock had wanted Cary Grant for the part of David – no wonder.
Five men walking past in the street out of 10