Talk of the Town, The (1942)
Director: George Stevens
It is a love triangle that mixes intellect, long time
friendships, the questioning of what is right, and a fugitive from the law. A
partial romantic comedy, partial crime drama The Talk of the Town is a movie that plays along the lines of being
serious as well as silly. Starring a trio of notable actors the film portrays a
finely constructed script where the suspense and mystery of the plot contrasts
the lightheartedness of the characters’ relationships with one another.
The Talk of the Town
is a comedic drama of fugitive political activist and an illustrious mind in
the world of law both vying for the affection of a strong-willed woman that
binds the two together. Nora (Jean Arthur) attempts to hide an old friend and
political activist Leopold Dilg (Cary Grant) who recently escaped prison during
the middle of his trial within the house she began renting to a distinguished
law professor Michael Lightcap (Ronald Coleman). After first passing Dilg off
as the premises’ gardener to Lightcap the two men become fond of each other’s
intellect, while at the same time each begins budding relationship with Nora,
creating an unspoken rivalry simultaneously between the two men. When Dilg’s
true identity is revealed to the professor Lightcap’s first reaction is to fulfill
the duty of the law by turning in Dilg in. However, suspicions allows Lightcap
to dig in deeper to discover Dilg is actually being framed. The three work together
to prove the innocence of Dilg, where soon after Lightcap is appointed to the
Supreme Court and Dilg is a free man. Shelly
is torn between these two men romantically, but ultimately decides on the more whimsical
Dilg despite her feelings for Lightcap as well.
The feature is an enjoyable intelligible battle over what is
the right thing to do when one feels injustice is being served, but also feels
that fallowing the law hinders discovering the truth. The lighthearted comedy
aspects derive from the jealous romantic battle of Dilg wanting to build his
interest with Nora while she is finding interest in Lightcap. Despite all these
amusing aspects of the picture, the film does struggle with balance as the
drama of the plot appears to be interrupted intermittently with silly comedic
points of an overly playful romantic comedy.
Director George Stevens with The Talk of the Town was in the middle picture of a three film deal
he had with Columbia, all of which were of a romantic comedy variety, before he
joined the U.S. Army in 1943. It reunited Cary Grant with Jean Arthur for their
second feature together, the first being the 1939 Howard hawks drama Only Angles Have Wings. Their co-star was
be Ronald Coleman who would take less than top billing for the first time since
the days of silent pictures. All three give serious performances with moments
of silly comedy, these moments being zany double takes or subtle looks of
bewilderment more associated with screwy B-comedies than an A-list drama.
Despite these moments being very few and far in-between they do stand out quite
a bit for such a serious picture.
Of the supporting cast we observe a brief appearance of a
very young Lloyd Bridges in an uncredited role as a reporter. 1942 was a very
busy year for Bridges as he filled his résumé with twenty different motion
picture performances during that particular year.
Also featured are the performances of Edgar Buchanan and Rex
Ingram in minor roles. Buchanan, whose more popular roles would be from him
later television career, plays the sympathetic lawyer of Dilg who feels bad for
his friend and client who appears to have no hope, but does everything to help
his fugitive client. Ingram being one of the more respected and successful
African American actors of this era of mainstream motion pictures is featured
as the valet of Professor Lightcap. What makes Ingram’s appearance so
noteworthy as Tilney is that he is treated as an equal for whom Lightcap
respects academically beyond his services. This non-stereotyped black character
stands out in an age when mainstream Hollywood used African American characters
a servants or comic relief, giving Ingram’s character a bit more respect than
what was common at a time of social injustice.
The Talk of the Town
was a critical and financial success. The actors were praised for performances,
but that was not without some critic pointing out the awkward changes in the
style from melodramatic to screwball comedy and back so quickly throughout the
feature. In any case critics must have liked the picture enough for the film to
be nominated for Best Adapted Screenplay and Best Story that year, along with a
nomination for Best Picture.
The picture is a finely produced film with three wonderful
stars. Grant is a lovely leading man that keeps you guessing the entire time if
he is innocent or guilty while being overall likable. Jean Arthur plays well
the woman in the middle that wants what is best for both men and juggles what
she wants with what is right. Coleman is the intellectual that is likable, but
can be the person that almost ruins everything for Dilg until his sympathy for
his new friend leads him to discover his innocence. All together they are a
charming assemblage of a stars in a film that is delight to watch.
To call The Talk of
the Town one of the best features of the year might be a stretch, but with
the Academy Awards category clogged with nine nominated features then perhaps
yes it could be considered for this prize. The film is an entertaining feature
with moments of suspense that has the makings of what allows motion pictures to
be so simply enjoyable, and this is definitively one of the more pleasurable
movies of the year 1942.
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