Tout le comique de cette comédie tient dans des situations difficiles où l'on frise l'émotion. De magnifiques paysages embellissent le film et l'interprétation de Lucille Ball, particulièrement dynamique, ajoute encore à la gaieté de cette production... www.cinefiches.com
An absolute surprise that come unprotected, because of its alleged "minority" within Minnelli's work, and more than that, a movie subject to a previous devastating criticism. Unlike some of his acclaimed films, mainly decoration showcases, this slapstick exercíce of absurdity about a founding institution, the family and its matriarchy, is a brilliant model of formal rigor, being also a scenographic delight.
Full of slapstick and an overall pleasant comedy, if you are a fan of the 50s sitcom, this will be up your alley as it has a very similar feel. I must admit the 50s isnt my favorite era of comedy as a lot of it hasnt aged all that well (think Martin and Lewis), but Lucille Ball was special, and this film is a good showcase for her.
Minnelli, master of the comic nightmare, never truly attempts here a synthesis of dialectical opposites (as perhaps in Designing Woman) but keeps them in oneiric suspension as antinomies: so the nightmare dominates the comic & with the regulation Hollywood papering over of this abyss, this becomes a painfully ambiguous hallucination of marriage under the aegis of consumer capitalism; a mass media Kreutzer sonata
A sumptuous, anxiety-inducing film and one of THE great comedies, on par with PLAYTIME and THE LADIES MAN(and the best of Sturges, Keaton, and others) both in its social criticism and in the intense originality of its rendering of those ideas via cinema. Brody on a few of the themes: "the conflicts of personal freedom with the desire for community, the simultaneously liberating and constraining power of technology."