Mulher em Tudo

I can't quite figure out why so many reviewers here don't think this is much of a film. To me, never having seen it (or, quite honestly, heard of it) before, I found it a delightful time-waster and I was surprised at just how good Cary Grant was at comedy this early in the game. The story is fluff and really doesn't make much sense, but you can say that about THE BIG SLEEP (and everyone does) while still enjoying it. Anyway, any film with Edward Everett Horton in his prime is worth seeing, and to have the two of actors together is icing on the cake. (One might want to read the great Christopher Plummer's autobiography just to learn in what awe he held Horton when acting with him in the 1950s.) Frances Drake is also delightful (although I am more used to seeing her in thrillers like MAD LOVE and THE INVISIBLE RAY) and shows a gift for comedy. But the truly inspired performance in this film, which no words can adequately describe - you really have to see it - is Nydia Westman's. She is just a delight as a cute, pliant, headstrong ditz (no other word will suffice). Again, I've never seen anything like it except maybe Marie Wilson's lovably weird secretary to Warren William in SATAN MET A LADY. The performances are not alike, they are just weirdly different from anything you could possibly expect. Watch this and you'll see what I mean. Of course, the film depends totally on the performers - as a viable screenplay it may have a lot of words but it hardly exists - and they come through. Besides, who ever went to see a Cary Grant film for the screenplay? And Westman delivers lines like little lightning bolts from another planet. I thought the whole thing delightful.