Unfaithfully Yours (1948)

Surprisingly incoherent and boring

It's no definitive masterpiece but it's damn close.

Absolutely Brilliant!

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Golden-Age Hollywood screwball fabricator Preston Sturges' last feature film worthy of his caliber, UNFAITHFULLY YOURS stars Rex Harrison as a renowned conductor Sir Alfred de Carter, on the eve of his concert, he is deviled by the paranoia that his much younger wife Daphne (Darnell) might have an extramarital affair with his personal secretary Anthony Windborn (Kreuger) thanks to his philistine brother-in-law August Henshler (Vallée)'s presumptuous misconstruction.The apprehension and exasperation of being cuckolded hangs like a rock over Alfred's mind and Sturges only knows all too well, that for a man of Alfred's Brobdingnagian ego, the last thing to do is to lay bare his suspicion point blank in front of Daphne, from blunt rebuke to mounting curiosity, until firmly convinced by the circumstantial evidence, it all comes down to an increasingly fractious Alfred envisages three possible outcomes when wielding his baton in front of a full symphony orchestra and a full-house audience. Every scenario is pertinently induced by a different classical piece from romantic-era he conducts and introduced by a cracking zooming-in shot right into Alfred's eyeball, the overture of Rossini's baroque SEMIRAMIDE triggers a murderous plan A which a framed Anthony to take the rap, yet what Wagner's operatic TANNHÄUSER suggests is a plan B with lenience and munificence, whereas plan C of a Russian roulette derring-do is influenced by Tchaikovsky's symphonic poem FRANCESCA DA RIMINI, a special treat for musos and cinephiles alike. Sardonically, reality is, more often than not, not exactly what we have imagined, so during his execution of one of the plans after the concert (interestingly, the choice of the plan betrays Sturges' arch amalgamation of comedy and morbidness), a knockabout transpires in a slightly labored fashion which plays up to Alfred's clumsiness, and he is merely stuck in the preparatory step with the "so-simple-it-operates-itself" home recording unit when Daphne returns, thus an air-clearing finale is all we need to put everything back to the status quo. A motormouthed Rex Harrison simulates a great impression as a conductor and relishes Sturges' long-winded screenplay which jollily throws barbs to the folly of machismo, meanwhile, Linda Darnell is hobbled as a virtuous beauty with a little more to act (albeit it is all in one's figment), yet, quintessentially it is Sturges' trademark witticism and sleight-of-hand that marks this oldie a treasure to be appreciated by posterity and here is the takeaway quip to round off my review - "If there is one reassuring thing about airplane, they always come down."

Unfaithfully Yours is an inventive spin on the 'screwball comedy' sub- genre that peaked during the 30s and 40s from Preston Sturges. It isn't very often that a film-maker leaves his mark on you with the first viewing from his output which is exactly what Sturges achieves here. With dialogue that is literally razor-sharp, laced with sardonic wit and a smattering of the slapstick, one might be tempted to genre-confine this film. Nothing could be more of a disservice to Sturges' work for while being a black comedy with screwball elements, it also carries a catalogue of human behaviour much darker than the average black comedy of its time. Only Sturges never lets the latter upstage the eventual purpose of the film – to raise chuckles and leave you in splits.Firstly, the dialogue. The wordplay ('handle Handel') here suggests a liking for verbal content above all else with Sturges. All the characters deliver lines that are chuckleworthy if not downright hilarious. As such, a repeat screening is a must, if only to sample some piece of dialogue that didn't register the first time around. This aspect of the movie leads me to the other which is Rex Harrison. Cast here as the renowned orchestra conductor Sir Alfred de Carter, his performance hinges as much on words as much as it does on his brow. That is one mighty brow with a bearing to match. Any dark content here stems as much from it as from Sturges!Three pieces of Western Classical music play integral parts in the film. Rossini's Semiramide, Wagner's Tannhäuser and Tchaikovsky's Romeo and Juliet, high points of the Romantic Movement, highlight how the utopian perfection of imaginary scenarios can go wrong in every possible way when their realization is attempted. Among other things, Linda Darnell puts in a pleasing turn as Daphne, Sir Alfred's wife and the scene featuring the Simplicitas recorder ('so simple that it operates on its own') is right up there with the funniest of the funniest.

This film is complete rubbish.This is the story - for the first 45 minutes absolutely NOTHING happens. This is quite difficult to achieve so deserves a mention. Rex Harrison hams it up, trying to be funny (his technique being to speak loudly and quickly) but he only succeeds in irritating the viewer. Then, whilst conducting an orchestra, he imagines 3 scenarios as a result of believing that his wife has cheated on him. He tries to put one of these scenes into practice and makes a drawn out mess of it that tests the viewers' patience as we are expected to laugh along with the unfunny antics that ensue.Harrison is way too OTT and the film contains a lot of slapstick, very obvious, visual humour which tediously drags on. An example of the humour you can expect goes like this: Harrison stands on a chair but puts his foot through it (ha ha ha), then he opens a cupboard and something falls on his head (ha ha ha), then he drops something (ha ha ha), then he puts his foot through the chair again (ha ha ha), then he falls over, etc - this scene goes on for 10 -15 minutes but it seems like a billion hours. And its not funny at any point.The film is very boring.

This is what we might call late-blooming Sturges coming as it did four years after his last Paramount movie and having written and directed eight movies for that studio between 1940 and 1944, the majority of which were successful he was arguably entitled to both a break and a different studio. It was Fox who were to benefit from the breach with Paramount and Sturges got to feature Fox contract player Linda Darnell plus Rex Harrison, who was still hanging around the Lot after shooting Anna And The King Of Siam there a couple of years earlier. In fact Linda Darnell played very much the same role she plays here - an ordinary girl who lucks into a rich older man - as she did for Mank the next year in A Letter To Three Wives where she substituted Harrison for Paul Douglas. This is at its heart a very bitter black comedy but perhaps because he thought it too dark himself or perhaps because he was 'persuaded' by the Front Office, Sturges leavened it from about the seventh or eighth reel with some hopelessly unfunny slapstick involving Harrison who is, above all else, at home with verbal comedy. There are certainly fine moments and the beginning is studded with Sturges one-liners but the ultimate effect is of an unsuccessful meld of bleak humor and slapstick.