Un hombre inverosimil

You get exactly what you expect from this and if that is a very typical late thirties comedy crime movie without any surprises or anything particularly memorable to make it stand out from the crowd you'll not be disappointed. As predictable as it is, this one however feels a bit more special.

This was the third picture Joan Blondell did with Melvyn Douglas: after a mediocre Thin Man rip off, they got into their stride with a very funny screwball comedy followed almost immediately by this quite witty crime comedy. It's well made, you take an instant liking to the characters and it keeps your interest by having a fairly intelligent and engrossing story. It's not laugh out loud funny but it gives you a comforting and cosy warmth that will make you smile. Somehow because the characters seem like real people, you don't actually notice how ridiculous this story gets at times. For example, it seems quite normal that Melvyn Douglas disguises himself as a woman simply by putting on a dress and a blonde wig still wearing his moustache. Those of you with exemplary musical taste will all be thinking what I thought at that point - that he bears a remarkable resemblance to James Young, the guitarist from STYX or is that just me?

Although her pre-code days and saucy outfits were long behind her by 1939, Joan Blondell has possibly never looked more gorgeous. Her character here is a bit more sophisticated than her earlier roles and it must also be said that she looks particularly voluptuous in this. It's a Melvyn Douglas movies so her role isn't quite as meaty as it could have been as most screen time is devoted to Mr Douglas. Having however escaped the treadmill of Warner Brothers, she certainly looks more relaxed and seems as though she is having fun which of course makes us enjoy it too. It's hardly a dramatic role but it's good to see her playing just slightly different rather than just a caricature of herself which plagued the latter part of her career at Warners.

Even if you're not obsessed with Joan Blondell, if you like 1930s comedies you'll probably enjoy this. It's no BRINGING UP BABY but it's a grade above most of the comedies which were made just before the war.

Melvyn Douglas and Joan Blondell co-star in "The Amazing Mr. Williams," a 1939 mystery/comedy that's quite good, although forgotten, probably due to the number of incredible films that came out in 1939.

Douglas plays a talented police detective married to his job, while his girlfriend waits for a wedding that is constantly postponed. What happens in this film is no exception - he's called to a murder scene just as he's about to walk down the aisle yet again.

Both stars were excellent at comedy, worked together well (and often), and help make this battle of the sexes fun. Edward Brophy and Donald McBride are on hand for excellent support.

As you can read in other reviews, Melvyn Douglas doesn't make much of a woman.

Entertaining if a little on the long side.

One of the comments here trashed Melvyn Douglas, one of our greatest actors. He literally floated effortlessly through dozens of films as the other man and the best friend before coming into his own in films as an old man. He wasn't lazy, but rather, a very hard-working actor (who made it look easy) who had a Broadway career simultaneously with his film career. He just wasn't cast as a leading man in films or given very challenging roles under the studio system. I challenge anyone to see his devastating performances in "Hud" and "I Never Sang for my Father" and call him lazy or make reference to his smirk.

With a clever and inventive script, perhaps any cast could give good performances, but "The Amazing Mr. Williams" has a wonderful, top-notch cast.

Sorry I've never heard of director Alexander Hall, but it's obviously my loss. As good as the players are, they couldn't have created such an enjoyable ensemble production without a very able director.

Probably there is no reason to list all the actors because you can see that in the IMDb listings, and, really, they were ALL so good, it would be a shame to leave out anyone.

This is a fairly low-budget movie, since it's from Columbia, but it is an incredibly high-quality motion picture, one I recommend very highly.

There is a very good print at YouTube. Please watch it.

What was there about 1939 that helped produce so many excellent Hollywood films? Well, whatever it was, the magic may also be found in this Columbia picture. It's a long forgotten screwball comedy that Turner Classic Movies has begun to show. (Maltin's movie book does not contain it.) In nearly every department, Amazing Mr. Williams is a jewel.

It's the story of a first-rate police detective who can never find the time to marry his intended. As the wedding bells are about to ring, he gets called to the scene of a murder. The lady in question has to learn the hard way not only to enjoy the pursuit of criminals but to belong to the police force. There are a lot of laughs in the process.

Melvyn Douglas proved again that he had few peers in light comedy. Joan Blondell was at the peak of her career and is a delight. Edward Brophy and Donald McBride are hilarious.

The film goes on a bit too long, but who cares? The screwball comedies are always able to entertain, and this film belongs right in there with the best.

This is the third of three films Melvyn Douglas made with Joan Blondell in 1938 and 1939. It seemed that Columbia Pictures was trying to generate some momentum with the two but it apparently didn't take. It's too bad, as I really liked the two together--at least in the two films I saw (this one and "There's Always a Woman"). They seemed to have good chemistry.

This one begins with Douglas as a police lieutenant. For some odd reason, the Captain seems to want to destroy Douglas' love life with Blondell. Every time they plan a date, the Captain insists that Douglas needs to respond--even on his off days. This puts Douglas in the dog house with his girlfriend and eventually it causes Douglas to do something really crazy. The Captain, again in an effort to break up Douglas and Blondell, sends Melvyn on an errand to escort a convict to prison. But, Douglas is afraid to tell Blondell that their date has been canceled--so he brings the convict with him on the date--figuring he can drop off the guy at the prison later! And naturally, it blows up in his face and the police end up looking pretty bad.

Eventually, after many further indignities, Douglas has finally had enough. He knows the only way to get her back is to quit his job once and for all. But, like a retired fire horse, he just can't get it out of his system and despite telling Blondell he'd quit, he is tricked by the boss into investigating a murder/robbery. The notion of Douglas freeing a convicted murderer is just plain nuts. Why didn't he just let the guy stay in jail while he investigated instead of putting himself in jeopardy of a long prison term for such an act. And, sadly, at the point in the film the plot seemed to drag--mostly because it became more of a standard mystery film at this point. Like Nick and Nora Charles and Douglas and Blondell in "There's Always a Woman", the two pair up to solve a crime....and the film becomes all too ordinary

Overall, I liked the characters and the story had some nice moments, but the final 1/2 of the film is a bit of a let-down. Not bad, but after such a nice start, not all that great either.