Ève éternelle

'Libeled Lady' is a marvellous and thoroughly enjoyable comedy, a near-classic with three of the four stars on top form (especially Jean Harlow and William Powell, Spencer Tracy's comedic chops became more refined and more at ease in his later films in my opinion).

'Easy to Wed' is a musical remake but is nowhere near as good and one may question its point. It is by no means a bad film though and makes for more than serviceable entertainment. Starting with its faults, Esther Williams has little to do and her role does not play to her strengths while Van Johnson is wooden in a role just as underwritten and looks uninterested.

The musical numbers don't feel necessary (despite Ethel Smith contributing very nicely on the organ), are not that compellingly staged and are also not particularly memorable, while the story is even more contrived than that of 'Libeled Lady' and lacks its zippy energy (the musical numbers do it no favours), some of it badly drags. The ending feels too pat and incomplete.

However, the classy cinematography, beautiful use of colour and elegant wardrobe more than compensates as does a script that is almost as witty and sophisticated as that of 'Libeled Lady'. The duck hunting scene is not as hilarious as the fishing scene in 'Libeled Lady' but still an amusing scene. Edward Buzell does his best to inject some energy and style and does very competently.

Keenan Wynn has very deft comic timing and doesn't come over as heavy-footed. It's Lucille Ball's exuberant and very funny performance that steals the show though, especially when she indulges into a flight of Shakespeare.

On the whole, vastly inferior but serviceable and watchable. 5/10 Bethany Cox

This film has its plusses -- Esthers swimming, her swimming, and her swimming. It's also in technicolor, which is always a treat to the eye. It really surprised me that a socco screenplay that made 1936's Libled Lady such a rip-roaring funny film could go so flat 10 years later. Of course Myrna Loy, Jean Harlow, William Powell, and Spencer Tracy were more highly skilled performers than this cast. Williams has some to the stoic, amused calm that Loy had and she does okay as Connie, but Lucille Ball is almost unfunny in this, which really surprised me. She lacks Harlows warmth and vulnerability and timing. Harlow really carried Libled Lady and one always looks forward to her scenes. Ball is too arch and steely here. It puts a damper on the films success.

As the other comments here indicate, it's highly instructive to compare LIBELED LADY to this remake, EASY TO WED. A decade brought a huge difference in style between the Thalberg-approved slangy courtship of slapstick repartee and the plush, earnest romance of Louis B. Mayer's MGM of the '40s.

Lucille Ball steals this picture with a very well-judged comic performance, aided by director Edward Buzzell, who clearly throws many scenes her way. What will surprise those who know her primarily from "I Love Lucy" is to see how much of her comic shtick is already on view here, completely developed and intact. The drunk scene, the little voices, the 'takes,' stares, reactions and expressions are familiar in every way as Lucy Ricardo. Ball also never looked more beautiful than in this film, with her hair as metallic and bright as a new penny, and in a series of witty and gorgeous costumes by Irene, who does just as well by Esther Williams.

But those who are critical of Ball's performance, particularly in contrast to Jean Harlow's in LIBELED LADY, are right. Harlow was a natural, a wonderful, winning and unique personality, whose blustering scenes of anger were always justified, always expressing her common sense and dignity. The dirty little secret about why Lucille Ball never made it as a movie star was that despite her professionalism and beauty, she was essentially a strident and cold personality. What Harlow did naturally, Ball works very hard to achieve so that we admire her pyrotechnics without ever warming up to her. By the time of "I Love Lucy" she had begun to disguise her intensity with clutziness and feigned vulnerability and stupidity. And like Katharine Hepburn, she learned that if Lucy was reined-in by a man once in a while, audiences could forgive her for her aggressiveness.

There is relatively little of Esther Williams' swimming in this picture. At this mid-'40s point, MGM was pushing her versatility to see just how much she could do, how far she could go. I happen to think that her screen presence (even when out of the water) is underrated. She had a refreshing, no-nonsense self confidence that is very American, and she was sexy in a way that is never blatant. The fact that this statuesque beauty with her strong physical presence and perfect carriage never acts seductively or coyly creates an unexpected sexual tension, especially in her early films (she lost a bit of it later as her body became thicker and more athletic). You can see how some would feel moved to ruffle her composure, warm her up, 'get' to her in some way, because she seems oblivious to her femininity while brimming over with it. Which is what makes her seem an emblematic American movie star. In the first half of this picture she gives a good account of the kind of frigid glamor girl that Alexis Smith often played at Warners.' When she finally melts, it's lovely, though she is better photographed in both THRILL OF A ROMANCE and THIS TIME FOR KEEPS (where she rates closeups by Karl Freund that make her look almost impossibly, lustrously beautiful).

A word about MGM's '40s Technicolor -- I love it. Many films from this period as screened on TCM seem to have been saved, restored, remastered for video tapes and DVDs. All of Esther Williams' color films from the mid-'40s are a visual treat with bright, deeply saturated color and sharp images, though a few scenes in EASY TO WED seem unaccountably muddy and soft, with desaturated color. And in one scene Ball wears a frosty blue costume that we have been told is green. Maybe they should take a look at this print before they put this film out on DVD.

Musical remake of "Libeled Lady" doesn't come close to matching the 1936 screwball classic but is mildly entertaining. Williams, Johnson, Ball, and Wynn are no match for the stellar cast of Myrna Loy, William Powell, Jean Harlow, and Spencer Tracy. Johnson and Williams are too bland in the lead roles. Lucy provides a few chuckles; upon learning that Johnson may be married to two women, she says, "That's arson." The funniest scene has her getting drunk with Johnson. Williams gets a dip in the pool but the musical numbers are not memorable and probably contribute to the lethargic pacing. By comparison, the original zipped along at a rapid pace.

The "Morning Star" is desperately collecting their papers in fear of the powerful J. B. Allenbury. He promises to sue the paper for $2 million for defaming his daughter Connie Allenbury Chandler (Esther Williams). It's an open and shut case. The paper has been a thorn in the side of Allenbury and this is his chance to shut it down. Warren Haggerty (Keenan Wynn) leaves his wedding to performer Gladys Benton (Lucille Ball) to fix the problem. He has to rehire philandering reporter Bill Chandler (Van Johnson) to go on a mission to sully Connie's reputation. They come up with a scheme involving Gladys.

It gets a bit boring after the wedding. I've never seen Esther Williams as a particularly good actress. I hoped that reintroducing Lucille Ball would add some more screwball comedy. She does what she could but her role is somewhat limited. Van Johnson does the bulk of the comedic heavy lifting with mixed results. I like his solo duck hunting effort more so for its audacity. He is alone with the dog for a long time. As a trio, they are mostly bland like a 50's white toast sandwich with mayo. The movie picks up whenever Lucy gets to play. She's a fun drunk.