Apart from its originality (the somewhat risqué story, involving the various misunderstandings which arise over an abandoned baby, was even nominated for an Oscar) and reputation as a comedy classic (from an era crammed with them), this film is notable as a touchstone in the careers of all three protagonists – Ginger Rogers (her musical partnership with Fred Astaire now firmly behind her), David Niven (tackling his first starring role) and Charles Coburn (who practically spent the rest of his life playing wealthy and big-hearted eccentrics) – as well as marking perhaps director Kanin's most satisfying effort in this capacity (he is still best-known as a scriptwriter); incidentally, Rogers and Kanin would soon be re-united for the almost-as-good TOM, DICK AND HARRY (1941; http://www.imdb.com/title/tt0034299/usercomments-11). Given the Christmas back-drop, BACHELOR MOTHER makes for ideal festive fare – adding to the already warm glow (but thankfully eschewing sentimentality) of its subject matter. The two leads exude a wonderful chemistry (they would be reteamed two more times over the course of almost 20 years) which lends conviction to their budding romance and, likewise, a greater sense of involvement to their wacky antics (particularly Niven's attempt to exchange a defective toy in his own establishment incognito, during a marathon dance contest and a New Year's Eve dinner in which department-store clerk Rogers is passed off before Niven's high-society peers as a Swedish heiress). When Coburn, playing Niven's tycoon dad, gets wind of his son's supposed parenthood (via an anonymous note, actually from vindictive employee and romantic rival Frank Albertson), he is overjoyed at the prospect of finally having a grandson – even after both Rogers and Niven produce alternative fathers (including Albertson himself)!; the ending, then, with the leads getting hitched with a ready-made child in tow (a common occurrence today but not back then I suppose), is pure Hollywood. For the record, the film was remade – in color and widescreen – as BUNDLE OF JOY in 1956...which, given the casting of Debbie Reynolds and Eddie Fisher (then a real-life couple), not to mention the addition of musical numbers, provided a distinctly unappetizing 'alternative' scenario for this viewer.
