She Married Her Boss

I've read the other comments that talked about aspects of this film that are dated, offensive, or just plain bizarre. I was rather surprised that no one brought up the movie's cringe-inducing gender stereotypes. Anyone who has seen Claudette Colbert or Melvyn Douglas in the films they made before the introduction of the Production Code(in mid-1934) would immediately recognize the heavy hand of the censors, who did their best to impose on Hollywood their narrow-minded idea of "family values." (On the basis of this film, it would appear that allowing married women to pursue a career would bring about the end of American society, but child abuse and drunk driving are just good clean fun!) Though the cast and plot look good on paper, the result is strained and uneven, as if the script had been written to Pre-Code standards and then hastily cleaned up so as not to offend the censors.

Claudette Colbert plays Julia Scott, a bright, capable, and confident executive assistant at a large department store. She runs the busy office like a well-oiled machine and clearly enjoys the work. It's hard to fathom why she's spent six years mooning over her boss, Richard Barclay. The way the role of Barclay is written, the usually charming Melvyn Douglas comes off as a humorless, sexless cipher. All the more jarring, then, to hear Julia talk about her desire to give up her terrific job and marry Barclay. Without a trace of irony, she describes marriage as "a woman's REAL career."

Okay, she wants to get married. But why on earth would the lovely and vivacious Julia want Barclay as a husband? Not only is he dull as ditch-water, he treats her as if she were a piece of super-efficient office equipment. Once they're married, he ridicules her for assuming the stereotypical role of housewife, despite the fact that she's set his chaotic home in order and tamed his obnoxious brat of a daughter. There's nothing in the movie to explain Barclay's eventual change of heart; apparently it's brought on by a quart of whiskey. So much for good old "family values." The film is so devoid of any hint of sexual attraction that we don't see a single cuddle or smooch--not even at the very end when it's clear that the newlyweds will finally get around to doing what newlyweds are famous for doing. Julia has more physical contact (and chemistry) with Leonard Rogers, her sweet-tempered playboy suitor, who's a lot more appealing as husband material than that cold fish Barclay.

Solid performances are turned in by familiar actors in some of the secondary roles: Raymond Walburn as the perfect butler; Katherine Alexander as Barclay's drama-queen sister; Edith Fellows as the evil daughter; and especially Jean Dixon as Julia's wise-cracking, matchmaking best friend.

Would love to have seen this film made just a year earlier, before the Hays Office started taking their moralizing hatchet to so many of the things that made movies of the 30s worth watching.

I used to deal in old-movie memorabilia. In the 1960s, while running a stall in the Portobello Road, I acquired and resold a full-colour poster for 'She Married Her Boss'. What a bizarre piece of artwork! The poster depicted Claudette Colbert with blue eyes, blue hair, and blue skin: she looked a proper Smurfette, or perhaps an Oompa-Loompa. Worse luck, the blue Colbert was placed against a background in the same shade of blue, making her seem to vanish altogether ... except for her lips, which were bright red. For decades, I wanted to view this movie to find out if it was as weird as the poster art.

It turns out to be even weirder. Who designed the costumes here? In the opening scene, Colbert wears a dress with some nice gauntlet cuffs, but it also has a titchy little bow-tie and a pair of lapels the size and shape of an aircraft carrier. In a later scene, Jean Dixon wears an outfit with what appears to be a springboard jutting out of her left shoulder. In the final sequence, Colbert sports raccoon shoulder pads that are so enormous she looks like a linebacker.

This is a screwball comedy, but it's screwier than it needs to be. Michael Bartlett plays a lounge lizard who charms Colbert by telling her she ought to have a mole on her chin. (Ugh!) You know those horribly phony camera set-ups in which an actor sits at a piano keyboard, pumping his elbows, and we're expected to believe he's playing? Bartlett does that here, in one of the fakest versions I've ever seen.

On the positive side, there's a stand-out performance by 12-year-old Edith Fellows as a spoilt brat. Fellows was an immensely talented child actress who had the misfortune to be much less pretty than Shirley Temple, so she got lumbered with Virginia Weidler roles. Colbert hauls Fellows offscreen and gives her a spanking, which would have been funnier if shown on screen. I was delighted by the performance of Raymond Walburn as Melvyn Douglas's butler: amiable, loyal and eventually drunken. Walburn usually played blustering shysters or roguish criminals, so it's a pleasure to see him given this change of pace. Grace Hayle, a character actress whose heavy physique usually cast her in buffoonish roles, is personable here in a nice bit role as Colbert's assistant.

Although the plot is unbelievable (even by screwball comedy standards), individual set pieces are delightful and funny. Colbert and Bartlett host a cocktail party in the shop window of Douglas's department store, with shop dummies as the guests.

The climax of the movie is meant to be funny and romantic, but I found it saddening and maddening. Douglas pretends to abduct Colbert at gunpoint: we know he's faking, but she doesn't and she's evidently terrified. Douglas and Walburn, both drunk to the eyebrows, take Colbert speeding through the city in Douglas's motorcar, the stonkered Walburn at the wheel whilst an undercranked camera shows the car speeding wildly through the streets. I can laugh at comedy based on drunkenness, but it stops being funny when the drunks grab a steering wheel: there have been so many drink-driving tragedies, I just can't laugh at the notion of an inebriate operating a car.

Talking of booze: this movie was directed by Gregory La Cava, a hugely talented and under-rated director who ruined his career through alcoholism. Maybe I'm reading too much into this, but quite a few of La Cava's films -- including this one -- depict characters who solve their problems by getting drunk. I'll rate 'She Married Her Boss' 7 out of 10, but I wish someone could explain this movie's weird Smurfette poster and those ridiculous costumes.

This is Gregory LaCava's sanitised follow up to IT HAPPENED ONE NIGHT but here with a homely and surprisingly unsexy Claudette Colbert. It's not a funny comedy but rather one of those ok, "nice" wholesome feel-good movies.

Just a couple of generations ago it was virtually unthinkable for a woman to have a job after she'd got married. Then came the washing machine etc giving women the opportunity to do all the housework and also slog away from 9 to 5 as well. This is the normality of the age when this was made and this picture is about what happens when that unwritten law is broken.

There's no mistaking that this is 1935, a man's world, a time when men were men and women were ...just their wives. Despite its archaic attitudes, this is a light hearted effort. Comparisons are easily drawn with with Ruth Chatterton's FEMALE made a few years earlier which had lines such as: I am only a woman, business is no place for women and a woman's role is to have babies. This gentle comedy however is much less preachy. Whereas Ruth Chatterton's character "sees the error of her ways" and gives up trying to do a man's role, Colbert's Julia doesn't quite abandon her career but rather tries to balance having a job with being a proper little wife. For 1935 this is actually quite progressive.

The one aspect which is actually funny - in a weird, weird kind of way is Miss Colbert's crazy wardrobe. Robert Kalloch was Columbia's high profile dress designer but I think he must have been going through some sort of mid life crisis at the time. Claudette Colbert was one of the most beautiful and sexy actresses of Hollywood's golden age but not in this. Maybe this uncharacteristic dowdiness was a deliberate attempt to show her as a beacon of the new cleaned up, decent and morality upstanding Hollywood? Gone is that naughty twinkle in her eyes, gone are the suggestive glances, gone are the slinky silk dresses. This new "post code" Colbert is the model of modesty, the perfect example of how women in 1935 America should be.

Had this been made before the code, it might have had more bite. It might also have been more melodramatic like FEMALE but what 1935 gave us was just something fairly bland and undramatic but nevertheless generally pleasant.

Most modern viewers of 1930's comedies will be accustomed to the necessity of suspending disbelief and modern sensibilities to entirely enjoy these films. However, She Married Her Boss contains one or two scenes which make this a difficult task. The main problematic scene is the drunk driving scene which is sufficiently reckless as to be just plain alarming to modern audiences but fortunately occurs at the end of the movie so as not to be troubling throughout. The second such scene however is the (aural) scene of Julia (Claudette Colbert) spanking Anabelle several times with a hairbrush. In modern times, with the idea of physically punishing children being so controversial, this scene refuses to simply fade into the background of the film and become simply a comedic scene and lingers in a slight feeling of unease in watching the remainder of the film despite Annabelle's growing affection for Julia. Simliarly Julia's friends taunts of Annabelle appear somewhat cruel; being adults ganging up on an unhappy child, no matter how obnoxious her behaviour.

Although some of the comedic aspects of the film may not translate to a modern audience, the film nevertheless contains some gems of serious scenes - Claudette Colbert's reaction to her husband mocking her for behaving like a woman and his criticism that she is making their marriage "just like any other marriage". Similarly the shop dummy scene can be enjoyed on a number of levels, the drunken comedy is delightful but also wonderful is Colbert's pained expression and declaration that "Julia doesn't live here anymore". Finally my favourite scene of the film, when Melvyn Douglass confronts Colbert after her antics in the shop window appear in the press, effectively calling her "second hand goods". Colberts reactions from resignation, to pride to hurt to confrontation are a pure acting lesson.

While some of the comedy may struggle to appeal to modern audiences, the scene of the new bride (Colbert) being carried over the thresh-hold by her new husband's butler remains one of the funniest moments in 1930's comedy and Julia's kicking of the child shop dummy (surely a reaction to her troubled step-daughter) remains a guilty pleasure so that despite some reservations the film continues to work on both the dramatic and comedic levels despite some need to be prepared more than usual to put modern considerations aside to entirely enjoy this.

Sold as and considered a comedy, SHE MARRIED HER BOSS is actually a light-hearted "women's picture" with only occasional comic moments. Claudette Colbert stars as the executive secretary of department store owner Melvyn Douglas who has secretly been in love with him for seven years although he has never seen her as anything more than a very valuable assistant. Wealthy Douglas lives in a mansion with his frosty, hypochondriac sister Katherine Alexander and his bratty nine-year-old daughter Edith Fellows, product of his one unhappy marriage (it's never stated if Douglas was widowed or divorced but one presumes the latter given the hostile memories both he and Alexander have of his former wife).

Claudette's moneyed pal Jean Dixon is appalled how she is wasting her youth pining for this uninterested man and tries to break her away from him and toward rival store owner Michael Bartlett. When Dixon informs Douglas that Claudette is quitting her job to work for Barlett (untrue), Douglas is desperate to keep her and learns part of the reason is her desire to someday marry, he proposes to a surprised Colbert who happily accepts (the scene is curiously not filmed) only to learn shortly after the marriage that it basically remains little more than a business relationship. Meanwhile Bartlett is not giving in even with Claudette now a married lady (after all he himself is still legally wed!)

This is a pleasant film smoothly directed by Gregory LaCava but it really needed a rewrite and maybe revised casting. Claudette is perfection as always in this type of role but Douglas (whom often comes across as the "dull suitor who loses the girl" in the romantic comedies in which he is actually the "real love" in the picture) fails to show any hint of charm that might have bewitched her all these years although his poorly written character doesn't give him much to work with. The delightful comedienne Jean Dixon - so wonderful as the maid in La Cava's MY MAN GODFREY - is badly cast as Claudette's chic older, sardonic buddy in a part that cries for Helen Broderick.

Edith Fellows, however, is terrific as one of the most realistic brats on screen in the 1930's, a pathological liar who talks back to adults and bullies dogs. Edith's scenes with Claudette as a no-nonsense but warm stepmother tries to reach out to her are extremely believable and sensational. It's also a pleasure to see Grayce Hale, usually cast in unbilled bits as fat and stupid women, given a fairly sizable supporting role as Claudette's assistant at the office that completely lacks the ridicule she usually is given on-screen. Katherine Alexander is acceptable as Douglas' sister and comedian Raymond Walburn (unrecognizable in his early middle-age from his best known period a decade later in movies) is for the most part excellent as the long-suffering butler.

The movie has a shocking lapse of taste in it's use of drunk-driving (by Walburn) as "comedy" (in crowded city streets no less!!) although this may have been a period when the issue was not taken as seriously as it should have been. SHE MARRIED HER BOSS is definitely lesser Colbert but this is one actress who is always worth watching.