Mia moglie... che donna!

I guess George Goebel was a popular enough as a TV comedian that it was worth a try at seeing what he could do on the big screen. But outside of the peculiarities of his show, such as constantly turning to the audience and explaining what he's thinking, or anticipating what's to follow in a skit he's in, he is as generic a comic actor as could be. This story is equally generic, and typically of late RKO films and perhaps Hollywood comedies of the 1950's, a generally safe, monotonous atmosphere prevades. Goebel is cast as an advertising man with an overstated, mountain out of a molehill problem of writing some ad copy, and a similar problem with his marital relations. Though he struggles through endless rewrites and sleepless nights, his job problem seems easily accomplished to us non-ad men. If it weren't for needless, plot extending meddling by his boss, the story could have been halved. Goebel is married to georgeous blonde Diana Dors, which would seem unlikely on the face of it, considering how mild-mannered and less than he-man a catch George would be, but Diana herself always seemed quiet and mild and ladylike in most every film or guest appearance on TV I've ever seen, despite the sexy, bombshell exterior. Maybe it's her British reserve. She's beautiful but calm. She plays a scatterbrain, running on impulse power, making petty schemes to con George into doing or buying things, assisted by her equally devious mother. She instigates a twist in the story to make Goebel jealous, while his boss is setting him up in an ad campaign he doesn't know he's in, and it's all handled in so dull a way it makes one think how much livelier it would have been if it were compacted into the short space of a TV program, where this story really belonged. An interesting gag in it was getting John Wayne to play in an imaginary movie scene playing in a theatre, that's in color, whereas the rest of the film, i.e. the "real life" scenes are black and white. Later, George and Diana meet John Wayne, and he's still in color, though now NOT on a movie screen, until his wife shows up, and they go to half color, half black and white, then he too, joins her in the all black and white world. I speculate what that means, if there's supposed to be a message about percieved "reality" of film, or the debilitating conseqence of marriage?