4,5. 35mm, rewatched, UCLA restoration. It's not yet the perfect match between a clever and extremely ironic script (as always in Wilder) and the kinematic narrative, being above all a neat classical structure. Anyway, an extraordinary example of script made of inner rhymes, full of jokes about Hollywood and human cretinism and respect for those who differentiate and take advantage of it. A master opus.
As in "The Miracle of Morgan's Creek," Diana Lynn is the smartest, sanest character. Without her, nothing would work. The Sturges film is far superior but this debut by Wilder is not to be sniffed at. He was handicapped by the era's conventions but there are still laughs.
Definitely underrated Wilder. The implausibility is too huge to ignore, but Wilder still manages to keep it all tastefully together. Although despite being a delightful gem with a charming main couple portrayed by Rogers and Milland, the energy doesn't quite match Wilder's later work. It's understandable, though, since this was his second directorial effort and the first one in Hollywood.
It is quite sad that I am not able to devote sufficient time for my good old Hollywood. But it so happened that I was in Barcelona last month and Filmoteca de Catalunya were screening a host of Hollywood classics with a focus on Wilder. Wilder's comedies on big screens still pack a punch. I have still not learned to not-chuckle at how they conquered Paris.