Tom, Dick and Harry

Bouncy comedy making good use of visual techniques—split screen, dream fadeout, trick photography (the shrunken kids). These blend in seamlessly, adding to the appeal of what might come next. It's also an utterly charming turn from Rogers, and it better be since she has to bridge the distinct segments. There's salesman Tom (Murphy), rich guy Dick (Marshall), and workingman Harry (Meredith). So which will Janie (Rogers) marry. She dates each in turn and each proposes marriage. But what would married life be like with them. Her engaging dream scenes of what that would be like are grabbers, and in my book, the movie's highlight. And since each of the three represents a different economic class, more's at stake in her choice than an ultimate heart's desire. Then too, catch the point that true love is a matter of involuntary chemistry whatever one's romantic ideals or dreams.

It's Hollywood professionals hitting on all eight, from screenplay to acting to directing. I especially chuckled poignantly at Tom's salesmanship as he casually includes the add-on's that a new car will cost workingman Harry. The price almost doubles, Ouch! But Tom does it in such smooth fashion it's hardly noticeable. Anyway, Rogers is utterly winning as a telephone operator (catch the old style hook-ups) who can't make up her mind. In my little book, the movie's a sleeper that slides along effortlessly while the chuckles flow.

(In passing—can't help noticing presence of opposite sides of the 1950's blacklisting controversy. Murphy and Rogers were both active proponents of Hollywood political purges, while Meredith and screenwriter Jarrico were blacklisted for their leftist associations. In fact, the movie's outcome might be surmised from Jarrico's political preference. See if you agree.)