THE DOCTOR TAKES A WIFE
US, 1940, 88 minutes, Black-and-white.
Loretta Young, Ray Milland, Reginald Gardiner, Gail Patrick, Edmund Gwenn.
Directed by Alexander Hall.
Hollywood comedies in the 1930s were often described as screwball comedies, eccentric characters, zany situations… By the 1940s they became a touch more sophisticated with better production values. This is one of those films, directed by Alexander Hall who made a number of similar films including the original My Sister Eileen. It is a star part from Loretta Young, getting a bit older and sharper, very much in the dominating Rosalind Russell style. Ray Milland was emerging as a star and was to win an Oscar five years later for The Lost Weekend. (Edmund Gwenn plays Ray Milland’s father and Loretta Young and Gwenn were both twin Oscars in 1947 for The Farmer’s Daughter and Miracle on 34th Street.)
It is a screwball situation, Loretta Young as an author, dominantly feminist, dismissing of men, but using them when it is opportune – which happens when she encounters Ray Milland as a doctor who is forced to give her a lift to New York City. By accident, the just married sign is put on the back of their car and there are problems because she has written a book, Spinsters are not Spinach, beloved of unmarried women throughout the US.
What follows is a comedy of errors, her agent, Reginald Gardiner, suggests she write a book on marriage after the press gets hold of the news of her marriage to the doctor. He, meanwhile, is offered a professorship as long as he is married. They keep up the sham for a while but this leads to a range of screwball situations, changed by a sentimental visit for him to deliver a baby and she assisting, and a romantic ending.
1. Comedy style from the 1930s screwball comedy tradition? Characters, mix up situations, jokes and comedy?
2. The title, expectations? The cast and their styles?
3. New York State in Connecticut? Towns, hotels, the contrast with the city, offices, universities, medical centres? The musical score?
4. The focus on June, Loretta Young and her career, smart, author, feminist of the 1930s, her book, publicity, devotees, autographs, celebrity? Her disdain of men? The initial encounter with Tim, her being demanding about trains and transport, his being on the phone, the antipathy? Her capitalising on his travelling to New York by car, imposing herself? The accident with the head cast? Her stopping to send a wire? The just married take on the back of the car? The official scratching his head?
5. June, the interactions with Tim, his medical background, investigations? His wanting to be a professor? His having to be married? His engagement to Marilyn? The clashes with June, the drive?
6. In the apartment, clashing, having to stay? The setup? The reporters, the phone calls about the marriage?
7. John, agent, focusing on cash and royalties? Dapper style? Capitalising on the situation, informing the press?
8. The plan, June to write a book on marriage to keep her fans? Tim and the offer of the professorship, the forthcoming marriage? His father and his interventions? The professor? The socials?
9. The arrangements in the house, June beholden to Tim? The discovery of the truth? Vice versa?
10. The farce with the guests on the professor arriving, Marilyn arriving, the neighbouring flat, Jim in and out of the window with the drinks, appetisers…?
11. The invitation for the weekend, June not wanting to go, in the car, the official of the horror hotel door and his puzzle about marriage? Marilyn coming, June hiding?
12. The intervention of the footballers, their exam, playing, overhearing about John, coming back, tackling John?
13. The change of pace, the police wanting a Dr, the family and the birth, Tim helping, June deciding to help, the change of attitude, the return to the city?
14. The threat of exposure of the non-marriage? Marilyn at her party, to the announcement, June turning up, ostentatious about being married, knitting the clothes for the baby…?
15. Tim, exasperated, coming to his senses, the happy reunion?
