The Talk of the Town

Moviecut—The Talk of the Town

source: The Talk of the Town

Is this George Steven's most complex movie? Probably. But I think he attempts too much for his talents. He does have extraordinary skills, but they are not in all the dramatic stuff that speaks to intensity and commitment and rhythm. What he does have is an extraordinary gift for staging and camera awareness. But I think this one gets away from him and Cary Grant. Too many threads with not enough cinematic power to pull it off. The one really great scene had nothing to do with the story. It involves a telegram delivery man on an erratic scooter. Great. Ted's Evaluation -- 2 of 3: Has some interesting elements.

This was an odd movie. The pairing of Cary Grant with Ronald Coleman was a bit odd, although most of their scenes are done separately due to the way the story was written. Jean Arthur, as always, did a marvelous job and she spends much of the movie bouncing back and forth between the two men. The plot was especially odd, with Grant played a man accused of arson and murder but being hounded more for his political views in a town with a "lynch mob" mentality. So how did all these odd elements work so well? Well, most of it, I think, is due to the wonderful acting--with these three in a film it's nearly impossible for the movie to be average or below average. Plus, the writing was good enough to make the silly plot actually work. So, while it's not a great film, it's well above average and worth a look. In many ways, the movie looks like it took characters from two different films and combined them into one. Cary Grant is highly reminiscent of Jimmy Stewart from MR. SMITH GOES TO WASHINGTON, as he's a man who fights the entrenched special interest and ends up being set up for a crime he didn't commit. Ronald Coleman is also quite a bit like Frank Morgan from A STRANGER IN TOWN--a film where a Supreme Court justice stumbles into a crooked town and ends up springing into action to help make things right. The only thing I should add is that this movie is much less a comedy than I'd been led to believe by reading the Leonard Maltin Guide and reading other reviews. Yes, there are some comedic moments, but the film is more of a drama and civics lesson with a bit of humor. This is certainly NOT a "screwball comedy" and it works just fine. By the way, although I don't think it was intended, a viewer could make a strong argument that there was a gay subtext in the film. When Cary Grant became friends with Coleman, it sure seemed that there was ample evidence to show that perhaps Coleman was attracted to Grant. Not only did Coleman very quickly bond with Grant, but he showed absolutely no interest in Jean Arthur or any other women--though he remarked about how "wonderful" and "close" he felt to Grant's character. As I said, I don't think this was intended but I could easily see someone seeing this without trying too hard to read this into the plot.

Mill worker Leopold Dilg (Cary Grant) is on trial for arson which burned down the mill and killed the foreman. He escapes and finds shelter in former schoolmate Nora Shelley (Jean Arthur)'s home. He injures his ankle and pleads his innocence. She's a schoolteacher who is renting out her home. Distinguished Harvard law professor Michael Lightcap (Ronald Colman) arrives at the same time planning to write a book. Dilg can't walk and Lightcap discovers Nora. Nora pretends to be in a fight with her mother. She enlists the help of lawyer Sam Yates. Socially conscious Dilg doesn't agree with Lightcap's views and has to challenge him. Nora passes him off as her gardener. The comedy strikes a very odd tone in a crime drama. It's just strange to have this slapstick fast-talking broad comedy while treating the arson murder case with deadly seriousness. It is very awkward and more importantly not funny. In the comedic moments, I wonder about the case. The professor is really pompous and dull. He's so charmless that the love triangle never really takes off. The discussions is heavy-handed and tiresome.

Grant is a political activist, Leopold Dilg, who is framed for arson and for the death of a man supposedly burned to death. He hides out in the farmhouse of a friend, Jean Arthur, but Arthur has rented the house for the summer to stern judge Ronald Colman, who wants peace and quiet so he can write his book. He's also hoping for an appointment to the Supreme Court of the United States. Arthur introduces Grant as the gardener. Coleman soon finds that Grant is a most peculiar gardener. He cultivates some pretty unorthodox views of the law, promoting its spirit, whatever its letter. Also he's able to beat Coleman at chess. Coleman finally discovers Grant's real identity and is determined to turn him in but before he can do so, Grant knocks him out and escapes. Coming to, Coleman thinks things over and realizes there is no real evidence against Grant except an oddly self-absorbed hair dresser who was the girl friend of the supposedly barbecued victim. Coleman pursues his own investigation. Things get hectic before they end happily. Jean Arthur winds up in the arms of Cary Grant, while Coleman dons his black robe and sits behind his massive bench, entirely satisfied with the way things turned out. I'd have given Jean Arthur to Ronald Coleman, who seems more devoted to her than Grant is. It would be better for everyone concerned. Coleman is older and Arthur would provide him with contentment for the rest of his life, after which she'd become terribly rich. Grant, on the other hand, is a wisecracking malcontent whose middle name is Trouble. On top of that, he's named Leopold Dilg. That means she would have to become Mrs. Dilg. And on top of THAT, Cary Grant always gets the girl. Let's give her to Coleman this time. She'd make a nice addition to his library. I didn't find it as satisfying as some other viewers. The blend of romance, comedy, and drama was a little uneasy. Grant had a tendency at this point in his career of branching out into serious roles, often in message movies, in which he challenged his usual handsomely carefree film persona. "Penny Serenade," for instance. They were generally failures and Grant went back to doing what he did best by the late 40s. Never again would he be a character named Leopold Dilg or Ernie Mott or something. Good.

This movie, "The Talk of the Town" is George Steven's only serious comedy. He copies Frank Capra's theme of the common man against big business and big government and he makes a home run. The casting was supreb from the three leads to all the supporting cast in the smallest of roles. This is Jean Arthur's most romantic movie where she must decide who to love. It's a great ending. She gets kind, adult talk with the most romantic kiss from one of her co-stars. It's a shame they don't make love scenes like this today. Today they are into graphic love scenes. Besides, you get a history and moral lesson on ethics in business and government.

Although I am a huge Cary Grant fan, and I love Jean Arthur, this film leaves a lot to be desired. As a previous reviewer said, something is just not right with it, and it doesn't really click. Perhaps it is because it cannot make up its mind whether it wants to be a comedy, screwball comedy (it does have some elements of this), or a drama with a serious message. If I had to guess, I would bet that the script was written by a "progressive", and that "social justice" was the real goal here. Cary Grant doesn't come off right as the labor agitator who is jailed for committing arson and murder, and Ronald Colman does not (IMO) do very well with comedy. The only saving grace is Jean Arthur, who performs with her usual grace and beauty. I would skip this one, unless you just want to see it for the record.

Talk of the Town is an excellent combination of a screwball comedy and legal drama. Grant plays well in both genres and is aided here with very capable co-stars, Arthur and Coleman. The discussions between Dilg and the professor concerning the practical and theoretical aspects of the law are both entertaining in their tit-for-tat presentation and thought provoking in their philosophical content. Jean Arthur is also very charming as the love interest who helps move them to compromise. I thoroughly enjoyed this intelligent, witty, funny, and well-acted film and strongly recommend it, 8/10.

Talk of the Town is a good movie! It is well written with witty and interesting, sometimes even surprising dialogue. It is well directed and well played. Even the score is really good (I am not sure if both John Williams and Frederick Hollander borrowed or it was just Williams who borrowed form Hollander for Star Wars). I grew fond of Roland Coleman through this movie, he is simply debonair. Sure, the preaching toward the end of the movie is a bit thick, but it is in character… and should you listen closely you would find that the message is as relevant today as then. And about the love triangle plot… It keeps you guessing till the last moment (only one other movie successfully does the same: Casablanca). Talk of the Town is an intelligent and endearing mix of comedy and drama, it does not use comedy only for the introduction but keeps it up, in parallel to the drama, well through the movie; in that it is remarkable. To say the least it did not deserve to be forgotten, for it does what movies do best: give you a good time.