Tom, Dick and Harry (1941)

Very very predictable, including the post credit scene !!!

Wow! Such a good movie.

This film is so real. It treats its characters with so much care and sensitivity.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Silly comedy, especially its dream sequences, that will make you wonder how Ginger Rogers earned a Best Actress Oscar (in her film that directly preceded this one, Kitty Foyle (1940)). Bo Derek must have watched this film to learn how to "act" (e.g. demurely chewing a pinkie finger in her mouth to show that her character's "thinking"). Thank goodness Rogers redeemed herself the following year in Billy Wilder's directorial debut The Major and the Minor (1942).Garson Kanin directed this fluff about an air-headed telephone operator (whose vocabulary consists of "swell & golly") that gets engaged to the three titled men simultaneously:high achieving, almost workaholic, and unromantic car salesman Tom (George Murphy)the millionaire son of a prominent father Dick (Alan Marshal)and the only one in her class - auto mechanic Harry (Burgess Meredith), to whom she's "sexually" attracted (bells ring when they kiss).During the dream sequences, Janie (Rogers) imagines what it would be like to be married to each of the men. One wonders how Paul Jarrico received his only Best Writing - Original Screenplay Oscar nomination; his story's conclusion is both predictable and unsatisfying despite its "twist".Thirty year old Phil Silvers (already bald and looking much like he did more than 20 years later on television) appears twice as an annoying ice cream vendor at "Inspiration Point"; Joe Cunningham, as Janie's Pop, is the only other actor appearing that had much of a career.One of Leonard Maltin's few misses (he gives it 3 ½ stars!), it's so dated that it will likely offend most women. Remade as a Mitchell Leisen directed Musical, The Girl Most Likely (1957), with Jane Powell and Cliff Robertson, among others.

I really enjoyed this... ... but I may be biased, because I'm a HUGE Ginger Rogers fan. I can't take my eyes off her whenever she's on the screen.Ginger positively smolders in this one. Some of the reviews kind of criticize the "ditzy" or "childish" portrayal of her character in this film... but as I watched, I kept thinking that her character wasn't as shallow as she would have the audience believe - perhaps I based this on Ginger's other performances (and I *did* keep expecting her to start cracking wise).I had to double check the date of this film a few times as I watched.. some elements definitely seemed ahead of their time for 1941.I thought the chemistry/dialog between George Murphy and Ginger was quite good.I thought the chemistry/dialog between Burgess Meredith and Ginger was fantastic. Seems like Burgess Meredith's character could've been a prototype beatnik... in 1941.Not so great with Alan Marshal.. probably because there was less of it, and most of that was with a drunk Janie (which I think Ginger performed quite well, btw).I laughed out loud during the scene where Janie is getting ready for her date with Harry ... Pop: "What are you going to do for shoes?" ... and Harry's scene with Butch. The whole scene could've been out of a 50's sitcom.Overall, I found it quite entertaining and was enchanted by Ginger's performance. I've saved it on my DVR for repeat viewings.

TOM DICK AND HARRY gives Ginger Rogers another chance to play an infantile woman (remember THE MAJOR AND THE MINOR, MONKEY BUSINESS and IT HAD TO BE YOU). It's a screwball comedy so it works (to a degree) but she sort of overdoes the job of making this girl a complete dumb-dumb. So, in the end, she makes the right choice when she must choose between three suitors.She has to decide whether to marry a poor, down-on-his-luck bohemian (BURGESS MEREDITH), a wealthy playboy millionaire (ALAN MARSHAL), or a conservative square (GEORGE MURPHY). Considering that she has no brains whatsoever, she chooses--well, you have to see the movie to find out.The cute ending provides an original twist to a decidedly unoriginal story which gets a boost from its personable cast. Rogers is delightful enough when she isn't being a bit irritating with her baby-voiced coyness, and the men are splendid as her bewildered suitors. Alan Marshal is much livelier than usual in his playboy role--so much so that you have to wonder why Hollywood didn't find better roles for him as a romantic lead.Ginger's fans will love this one--but I couldn't help thinking she played it a little too dumb at times.Summing up: A screwball comedy that could have used a brighter script but the dream sequences are well done, thanks to director Garson Canin's way with wacky comedy.

Just in case you think that Hollywood never made horrible movies during the Golden Age, this one comes along to set the record straight.Although I love Ginger Rogers with Fred Astaire, she clearly thought of herself as a more versatile actress. While I have not seen her in her dramatic role for Kitty Foyle, as a comedienne (here, and in Monkey Business), she is horrible acting like a giggling teenager.She plays a telephone operator who is being pursued for marriage by three different guys. Tom is a stable, hardworking guy, but she doesn't really love him. Harry is a "what me worry" type whose kiss does cause her to hear bells! Finally, Dick is the proverbial movie millionaire.Each guy gets his own "fantasy sequence" when Ginger tries to imagine what life would be like with them.Overall, this is just a stupid movie. Lots of blame accrues to the script, which is extremely lame.Don't blame me if you rent this one anyway!