Written by Herman J. Mankiewicz, this 1937 feature is fun and seminal, a vehicle for intelligent dialogue, and an example for many later battle-of-the-sexes entries. It also contains only one beautiful shot from a high rooftop of a New York street--its director's lone foray into the world outside a soundstage. Nevertheless, I find it to be clever, entertaining and filled with delightful characters. In the plot, Martha Aldrich (Maureen O'Sullivan) hardly believes the news when she is informed that she is the heir to a major New York newspaper. the paper's editor, Kenneth Morley (Walter Pigeon) tells one of his men he does not think women reporters can do the dangerous job of reporting. Ken then dresses up in a tuxedo and attempts to get in to interview a visiting queen; of course he fails. Still wearing the tux, he goes to the train station and greets Martha and her aunt Mrs. Atherton (Edna May Oliver); naturally he mistakes Oliver for his new boss, at first. At dinner with ex-Gov. Warfield (Charles Waldron), Martha soon learns that there are no women on the paper, and she naturally resents Ken's sexist views. At the office, Mrs. Atherton is annoyed to learn the paper has no puzzles either. Ken wants to know if the visiting queen is pregnant, but he cannot get an interview. Martha simply calls the queen, asks her if it is true, and confirms the rumor. Gov. Warfield then reminds Martha that it is she who now controls the newspaper. Martha then asks Ken for a job as a reporter, so that she can prove females can do the job. He agrees and invites her to dinner; but in a classic scene, as he tries and tries to get around to the subject of romance, she keeps making phone calls before he can say what he would like to tell her. The next day, Ken learns that an important strike could be staged in a few days; he of course wants the story. Ellen Warfield (Rita Johnson) calls Martha to meet her at midnight. So, the following morning, Ken wakes up Martha and complains that the wedding that she was supposed to attend instead was scooped by their competitor. Martha then resigns from being a reporter, and her Aunt suggests she buy a new hat. Martha then sees Mrs. Sinclair (Janet Beecher). Mr. Sinclair (Paul Harvey) tells reporters he won't call his opposite number Talbot about the strike, and Talbot (Walter Kingsford) announces that he won't meet Sinclair either. Martha delivers the hat to Mrs. Sinclair, who then refuses to give her the story. Martha heads down into the cellar and sees the Sinclairs sneaking out. She follows them, while a worried Ken and Mrs. Atherton go to the Sinclairs searching for her. At an inn, Martha finds an attendant (Guinn Williams) guarding the door. Martha then hides in the next room and climbs into a dumbwaiter to listen to what is being said. Martha is found and removed, but Mrs. Sinclair keeps her from being arrested for trespass. Ken and Mrs. Atherton find their way to the inn, with help. They spy Martha with her hands tied; she finally admits she is in love with Ken. A waiter is then bribed by Ken. Mrs. Atherton gives her gun to Ken, and they enter the room, to release Martha. The attendant comes in and knocks out Ken and Ted. They are tied up, presumably until the day's newspapers have been printed; but Martha moans as a distraction, and Mrs. Atherton then knocks out the attendant. An ambulance then arrives and keeps everyone there because of smallpox.. In the final scene, Martha shows Ken her story; a policeman brings in Mrs. Atherton; and Ken asks Martha to marry him. The film is directed with intelligence and pace by George B. Seitz. Cedric Gibbons' art direction and cinematography by photographer Charles B. Lawton give the film a fine, dense B/W look throughout. Randall Duell and Edwin B. Willis did the good set decorations with David Snell and William Axt providing serviceable music. This is a breezy and fast-moving production that slows down only for important dialogue; the comedy is beautifully served by award-level Walter Pigeon as the editor and Edna May Oliver as Miss Atherton. Maureen O'Sullivan is pretty and consistently bright as the heiress. Janet Beecher and Paul Harvey play the sneaky Sinclairs solidly, with Rita Johnson as Ellen Warfield, Charles Waldron as the ex-governor himself, and powerful Walter Kingsford as Mr. Talbot. Others in the cast include Leonid Kinskey, Guinn Williams as the attendant, and J. Farrell MacDonald. This is a classic professional comedy, well-written and cleverly comedic throughout. Since the male-female war theme has been carried out so often since, I suggest it is to films such as this film even more than "It Happened One Night" to which film historians need to look to see how well ideas were handled on a mostly-implied level as this sub-genre was being developed. An enjoyable little gem.
14 Reviews
Bright, Consistent Dialogue; A Great Walter Pigeon Starrer from 1937
silverscreen88813 August 2005
Warning: Spoilers
Weak material bolstered by bright cast...
Doylenf19 May 2006
The best thing about MY DEAR MISS ALDRICH is that it gives MAUREEN O'SULLIVAN a chance to prove that she was not only very pretty but a capable enough actress to ensure that in the future she would be rewarded with more leading lady roles worthy of her charming presence. Not so. MGM gave her this chance to shine briefly and then tossed her back into secondary parts in big films until she was cast as Jane in the hugely popular Tarzan series.
But the film itself appears to have been hastily put together on a modest budget with some good one-liners thrown to EDNA MAY OLIVER, who of course is a sheer delight as Miss Atherton, presumed at first to be the heiress who has inherited a big city newspaper. Of course the real owner is her niece, and when the real owner's identity becomes known to the hero, the story becomes a battle of the sexes with Maureen out to show him that his sexist attitude towards women needs some sort of reformation.
If the script and direction had been a little more sophisticated, this might have earned a better reputation as a screwball comedy in an era when the major studios were churning out things like FOUR'S A CROWD and LIBELED LADY. As it is, it's harmless fluff that gives the spectator a good look at Maureen O'Sullivan at her loveliest, billed over Walter Pigeon who takes full advantage of his role. They both play with assurance as romantic leads, but Pigeon's fans will be delighted to see that his flair for this kind of comedy even existed. He was cast in much more serious roles for the main part of his career.
Obviously produced as a programmer for the lower half of a double bill, this has its moments, thanks chiefly to Edna May Oliver's dominating way with stealing a scene. Her tart remarks are what helps make the film click at all.
Spelling note: I've tried to correct the spelling of Walter Pigeon's name, but it keeps on being switched back to Pigeon by the spell check apparently written into this review by either my computer or the IMDb site. There's a "d" before the "g", for anyone who's curious.
But the film itself appears to have been hastily put together on a modest budget with some good one-liners thrown to EDNA MAY OLIVER, who of course is a sheer delight as Miss Atherton, presumed at first to be the heiress who has inherited a big city newspaper. Of course the real owner is her niece, and when the real owner's identity becomes known to the hero, the story becomes a battle of the sexes with Maureen out to show him that his sexist attitude towards women needs some sort of reformation.
If the script and direction had been a little more sophisticated, this might have earned a better reputation as a screwball comedy in an era when the major studios were churning out things like FOUR'S A CROWD and LIBELED LADY. As it is, it's harmless fluff that gives the spectator a good look at Maureen O'Sullivan at her loveliest, billed over Walter Pigeon who takes full advantage of his role. They both play with assurance as romantic leads, but Pigeon's fans will be delighted to see that his flair for this kind of comedy even existed. He was cast in much more serious roles for the main part of his career.
Obviously produced as a programmer for the lower half of a double bill, this has its moments, thanks chiefly to Edna May Oliver's dominating way with stealing a scene. Her tart remarks are what helps make the film click at all.
Spelling note: I've tried to correct the spelling of Walter Pigeon's name, but it keeps on being switched back to Pigeon by the spell check apparently written into this review by either my computer or the IMDb site. There's a "d" before the "g", for anyone who's curious.
Enjoyable fluff.
planktonrules12 November 2015
"My Dear Miss Aldrich" begins with the death of a rich man. He has no will and his closest heir is Martha Aldrich. Suddenly, Aldrich is a very rich and important lady--the new owner of a newspaper! However, Aldrich (Maureen O'Sullivan) isn't content to just own the paper--she wants to be a reporter. But instead of just making herself a reporter, she politely asks the editor of the paper, Ken Morley (Walter Pidgeon, to hire her and treat her like any other employee. At the same time, Aldrich is starting to fall in love with Morley. What's going to happen to the pair as well as Aldrich's aspirations to become a reporter?
This film isn't especially deep and is very slight. But it's quite enjoyable and works a bit better because the wonderful Edna May Oliver is on hand as well. Worth seeing but far from a must-see.
This film isn't especially deep and is very slight. But it's quite enjoyable and works a bit better because the wonderful Edna May Oliver is on hand as well. Worth seeing but far from a must-see.
Edna May Oliver steals every scene she's in! (as always)
vincentlynch-moonoi18 May 2013
Warning: Spoilers
Yes, I ask the question what happened between 1937 and 1939 -- just 2 years -- that made such a difference in Hollywood between such mundane pictures like this and the golden year of film in 1939? If I didn't know what year this film was made, I probably would have guessed 1933. It's that old-fashioned. But, upon viewing this film a second time, I am going to upgrade my review and rating.
The first problem with the film is that it is so very dated, the theme being women don't belong on a newspaper staff. And it tramps that drum beat pretty consistently. Nowadays it would be laughed out of a cinema. But even then I would have thought the being the whole premise would have been pretty weak. Yup, women are good for just one thing -- romance. At least that's what Walter Pidgeon's character here seems to think, although I now see that that is actually the point -- Pidgeon realizes (by the end of the film) that he was wrong.
The second problem with this film is that parts of the script drag, even when you would think they would excite -- for example, the hi-jinks when Maureen O'Sullivan is trying to track down some strike talks. Nevertheless, the film begins with some promise -- a country girl inherits a big city newspaper. For a while the film flounders, but then improves toward the end.
The good news is the cast. Oddly enough, although deservedly so -- the star billing went to the wonderful character actress Edna May Oliver. And, in fact, her typical performance is as enchanting as ever...and the main reason to watch this film. Here she plays the spinster aunt of O'Sullivan. Edna May Oliver is one of those character actresses that stole every scene she was ever in. So it's a joy seeing her here.
Walter Pidgeon does fine, if you can accept him as the ultimate male chauvinist. Maureen O'Sullivan is okay as the inheritor of the newspaper who decides to become a reporter. In fact, she was pretty good...it's just that the script made her look dumb...like when she gets knocked out in a basement by stepping on a rake, and when she wakes up the first thing she does is powder her nose. Duh! You will recognize quite a few supporting actors here.
This is an okay film, but the best reason to watch it is to revel in an actor who usually got only character roles, but this time got top billing -- Edna May Oliver.
The first problem with the film is that it is so very dated, the theme being women don't belong on a newspaper staff. And it tramps that drum beat pretty consistently. Nowadays it would be laughed out of a cinema. But even then I would have thought the being the whole premise would have been pretty weak. Yup, women are good for just one thing -- romance. At least that's what Walter Pidgeon's character here seems to think, although I now see that that is actually the point -- Pidgeon realizes (by the end of the film) that he was wrong.
The second problem with this film is that parts of the script drag, even when you would think they would excite -- for example, the hi-jinks when Maureen O'Sullivan is trying to track down some strike talks. Nevertheless, the film begins with some promise -- a country girl inherits a big city newspaper. For a while the film flounders, but then improves toward the end.
The good news is the cast. Oddly enough, although deservedly so -- the star billing went to the wonderful character actress Edna May Oliver. And, in fact, her typical performance is as enchanting as ever...and the main reason to watch this film. Here she plays the spinster aunt of O'Sullivan. Edna May Oliver is one of those character actresses that stole every scene she was ever in. So it's a joy seeing her here.
Walter Pidgeon does fine, if you can accept him as the ultimate male chauvinist. Maureen O'Sullivan is okay as the inheritor of the newspaper who decides to become a reporter. In fact, she was pretty good...it's just that the script made her look dumb...like when she gets knocked out in a basement by stepping on a rake, and when she wakes up the first thing she does is powder her nose. Duh! You will recognize quite a few supporting actors here.
This is an okay film, but the best reason to watch it is to revel in an actor who usually got only character roles, but this time got top billing -- Edna May Oliver.
Spinsters in the Big Apple take on the mighty press.
mark.waltz4 May 2015
Warning: Spoilers
Prune-faced Edna May Oliver gets top billing over young beauty Maureen O'Sullivan in this entertaining, if standard, MGM screwball comedy. Actually, O'Sullivan plays the titled character, but because of her popularity, Ms. Oliver rose to top billing, playing O'Sullivan's spikey aunt. Maureen's a spinster librarian who inherits a bequest from a distant uncle, making her the new owner of a New York newspaper. She brings the New York hating aunt with her and in order to learn the newspaper business from the ground up, takes a job as a cub reporter from the resentful editor (Walter Pidgeon) who softens up to her in spite of his pig-headed sexism in regards to having female reporters on his staff. Of course, she screws up on the big stories, while in the meantime, Auntie Edna gets into all sorts of scrapes with the typical New Yorker, from hotel staff members to taxi drivers. This leads to reporter Maureen breaking the big story, getting into trouble with some wacky bad guys and how she gets out of the scrape without Pidgeon's macho help.
This is a basically second-rate comedy which is entertaining based mainly upon Edna May Oliver's presence in it. Maureen O'Sullivan is lovely enough and has a great personality, but when compared to other comic females of the time, she lacks major leading lady presence. Pidgeon, basically a second-string William Powell prior to his pairing with Greer Garson, lacks real chemistry with O'Sullivan, so this falls into the hands of Edna May who is no shrinking violet here. She even becomes a bit comically violent, taking on the hotel clerks and taxi drivers and even cops with feisty vigor that makes her truly endearing, showing once again that you can be just as determined and strong willed being from a small community as you are living in a big metropolis. No wonder she ended up with the billing-it is her act and she steals every moment unapologetically. One wink, sniff or evil eye from Edna Mae, and you know what she's thinking even without speaking.
This is a basically second-rate comedy which is entertaining based mainly upon Edna May Oliver's presence in it. Maureen O'Sullivan is lovely enough and has a great personality, but when compared to other comic females of the time, she lacks major leading lady presence. Pidgeon, basically a second-string William Powell prior to his pairing with Greer Garson, lacks real chemistry with O'Sullivan, so this falls into the hands of Edna May who is no shrinking violet here. She even becomes a bit comically violent, taking on the hotel clerks and taxi drivers and even cops with feisty vigor that makes her truly endearing, showing once again that you can be just as determined and strong willed being from a small community as you are living in a big metropolis. No wonder she ended up with the billing-it is her act and she steals every moment unapologetically. One wink, sniff or evil eye from Edna Mae, and you know what she's thinking even without speaking.
Pleasant Entertainment
Man992049 November 2015
This is a quality MGM production. Overall, the film is pleasing and entertaining. The script plays it safe by suggesting female equality but allowing the hero to win the woman's heart by the end of the movie.
Edna May Oliver is, as always, the bright spot in the movie. No one can toss off a carefully crafted bon mot like Miss Oliver. Walter Pidgeon plays what amounts to a talking "Ken Doll". Maureen O'Sullivan is stunningly beautiful. This film shows that she has a far greater range than playing "Jane" in the MGM Tarzan movies.
The weak point in the film is the script which is Generic MGM - any number of Actors and Actresses could have played these roles.
Edna May Oliver is, as always, the bright spot in the movie. No one can toss off a carefully crafted bon mot like Miss Oliver. Walter Pidgeon plays what amounts to a talking "Ken Doll". Maureen O'Sullivan is stunningly beautiful. This film shows that she has a far greater range than playing "Jane" in the MGM Tarzan movies.
The weak point in the film is the script which is Generic MGM - any number of Actors and Actresses could have played these roles.
Charming and Beautiful
sambase-3877310 November 2023
I'm speaking of Maureen O'Sullivan of course. She is indeed very charming and beautiful, beautiful and charming.
I won't go over the plot. Everybody has already done that. Besides, writing plot summations bores me to tears.
The script is smart and funny, funny and smart. The acting is fairly standard for the 1930's. Not too heavy, not too light. But very professional. It is a comedy after all. And a very good comedy at that. Lots of laughs, lots of funny lines and situations.
A movie to make you smile. A movie to make you laugh. And that was greatly needed in the 1030's. Lots of dark times during that decade. But they sure had some wonderful movies to make them smile.
I won't go over the plot. Everybody has already done that. Besides, writing plot summations bores me to tears.
The script is smart and funny, funny and smart. The acting is fairly standard for the 1930's. Not too heavy, not too light. But very professional. It is a comedy after all. And a very good comedy at that. Lots of laughs, lots of funny lines and situations.
A movie to make you smile. A movie to make you laugh. And that was greatly needed in the 1030's. Lots of dark times during that decade. But they sure had some wonderful movies to make them smile.
Maureen and some screwball
SnoopyStyle16 October 2021
Martha Aldrich (Maureen O'Sullivan) inherits a New York newspaper when the old owner died without a will. She's a distant relative and an "old maid schoolteacher from Nebraska". She is joined by Aunt Lou. Managing editor Ken Morley (Walter Pidgeon) is dismissive of a female owner or hiring any female reporters. Martha decides to prove him wrong.
This does have the great Maureen O'Sullivan but the character does not measure up in this battle of the sexes. I don't like that she stumbles into her stories more often than not. Her character has smarts and Maureen is really good at projecting smart. I would cut back on some of the girlie frivolity and add some small town ingenuity to her character. The movie takes a very screwball physical comedy turn in the second half. It needs to setup this tone at the start. Martha can have some funny trip back in Nebraska. Also, her getup is insane although old movies sometimes had crazy outfits. This is fine but it could have been better.
This does have the great Maureen O'Sullivan but the character does not measure up in this battle of the sexes. I don't like that she stumbles into her stories more often than not. Her character has smarts and Maureen is really good at projecting smart. I would cut back on some of the girlie frivolity and add some small town ingenuity to her character. The movie takes a very screwball physical comedy turn in the second half. It needs to setup this tone at the start. Martha can have some funny trip back in Nebraska. Also, her getup is insane although old movies sometimes had crazy outfits. This is fine but it could have been better.
battle of the sexes programmer
blanche-216 May 2016
Walter Pidgeon, Maureen O'Sullivan, and Edna May Oliver star in "My Dear Miss Aldrich," from 1937.
Martha Aldrich (O'Sullivan) is an advocate for women's rights and also a teacher. When she inherits a New York City newspaper, she and her aunt (Oliver) head for New York. There they meet the chauvinistic editor Ken Morley (Pidgeon) who has never had a woman on staff. Not having met Martha, he assumes she will be no problem, just some midwest schoolteacher.
The first thing she does is get a story no one else could get. She then asks for a job as a reporter. He reluctantly okays it. When a major strike is looming, Martha goes on a hunt to find out what's happening and scoop the other papers.
Maureen O'Sullivan is gorgeous and vivacious; Edna May Oliver steals all the scenes she's in; and Pidgeon does a good job, despite not being quite the rugged chauvinist that perhaps Spencer Tracy would have been. Pidgeon was too gentlemanly.
Oliver was 54 when she made this film and 59 when she died, having played the old aunt for most of her career. Remarkable.
An enjoyable movie, nothing special.
Martha Aldrich (O'Sullivan) is an advocate for women's rights and also a teacher. When she inherits a New York City newspaper, she and her aunt (Oliver) head for New York. There they meet the chauvinistic editor Ken Morley (Pidgeon) who has never had a woman on staff. Not having met Martha, he assumes she will be no problem, just some midwest schoolteacher.
The first thing she does is get a story no one else could get. She then asks for a job as a reporter. He reluctantly okays it. When a major strike is looming, Martha goes on a hunt to find out what's happening and scoop the other papers.
Maureen O'Sullivan is gorgeous and vivacious; Edna May Oliver steals all the scenes she's in; and Pidgeon does a good job, despite not being quite the rugged chauvinist that perhaps Spencer Tracy would have been. Pidgeon was too gentlemanly.
Oliver was 54 when she made this film and 59 when she died, having played the old aunt for most of her career. Remarkable.
An enjoyable movie, nothing special.
If You love old Black and White comedies from the 30's, try this one.
largent22 May 2000
Just watched this and 'Meet John Doe' today on the classic movie channel, very enjoyable double feature. Add 'His Girl Friday' and you have a great newspaper trilogy of B&W comedies from the 30's. I have always thought that the late 30's was a grand time for movie making. I really liked Edna May Oliver as Mrs. Atherton, she stole every scene she was in. It is very hard to beat Herman J. Mankiewicz for snappy, funny, sharp dialog. A great escape for 75 minutes of light hearted fun.
Awful
myronlearn16 October 2021
Even the great Edna May Oliver couldn't save this travesty. It's anti-feminist theme pits a seemingly tough Maureen O'Sullivan against a blustery Walter Pidgeon. A bad script, sub par performances and ridiculous scenarios pretty much describe this film. I was hoping Edna May would punch, and deservedly so, the bully Pidgeon. The only good thing about this cinematic nonsense is that it's only 75 minutes long.
Mediocre
atrickyone16 October 2021
For some reason this turkey garnered three stars out of four on TCM so I watched it. The comedy was genuinely lame, the script overall mind-numbingly dull. Worst of all was the abuse of the talent of Edna May Oliver who was saddled with what must have been the worst lines in her movie career. The constant yelling of Pidgeon didn't help it, and it was only slightly redeemed by the brightness of Maureen O'Sullivan. There was a stupid inconsequential subplot about a labor dispute, which evaporated into the ether. What a stinker.
It Works
boblipton12 April 2022
I can watch this movie a couple of times a year. It's astonishing in the MGM ham-handedness of the production. How we are to believe that Maureen O'Sullivan, with her trans-Altantic accent, or Edna May Oliver, with her stage-British, hail from Nebraska, is beyond me. MGM's idea of screwball comedy usually involved.... well, MGM didn't do screwball, unless you count casting Joan Crawford in SUSAN AND GOD.
Yet somehow, everything about this movie works. There's the Herman Mankiewicz script, of course, and the sure comedy direction of George Seitz and Miss Oliver is always absurd. Most of all, Walter Pidgeon is perfect as the lumber-minded Ken Morley.
Yet somehow, everything about this movie works. There's the Herman Mankiewicz script, of course, and the sure comedy direction of George Seitz and Miss Oliver is always absurd. Most of all, Walter Pidgeon is perfect as the lumber-minded Ken Morley.
A warm comedy of a small-town girl inheriting a big city newspaper
SimonJack27 December 2020
Edna May Oliver, Maureen O'Sullivan and Walter Pidgeon make "My Dear Miss Aldrich" a very good, heart-warming comedy. Built around New York City's largest newspaper (fictional), the plot here is a relatively mild and not-sensationalist portrayal of the press and journalism of the day. That's the picture that most moving pictures paint of the press of the time. Not that they are far off, but it's just refreshing to have one film whose focus is more on the professionalism of the paper. This has that, with nice doses of humor.
O'Sullivan plays Martha Aldrich, a young small-town teacher from Upper Platte, Nebraska. She inherits the Globe-Leader from a distant relative. Oliver is her aunt, Mrs. Atherton, whom she calls Lu. The aunt is a sort of mother hen, watchdog and companion of Martha. Naturally, she will go to New York with her niece. And Pidgeon plays Ken Morley, the managing editor of the newspaper. After his mistaken presumption of an old maid, stick-in-the-mud schoolteacher, Morley is very pleased to find the young and intelligent Martha as the heiress. One can guess where the film will go from there - with romance between the two.
But some good twists and meat to the story come from a couple of adventures the new owner gets into as a reporter for her paper. The film has some funny dialog, including frequent pithy lines from Aunt Lu. This is a warm comedy with a down-home feel that all ages should enjoy. Well, at least all who don't need constant adrenaline rushes to be entertained.
Here are some favorite lines from the film.
Mrs. (Aunt) Atherton, "You'd live in that school if they'd let you." Martha Aldrich, "I like to teach school." Mrs. Atherton, "Nonsense. Nobody likes to teach school - anybody that isn't homely. I'll say this for you - you may be crazy, but you're not homely."
Mrs. Atherton (Aunt Lu), as the phone rings, "Shall I answer the phone?" Martha, "Oh, you might as well - that's why they ring it. When they don't want you to answer, that's when they don't ring." Aunt Lu, "That's another thing - that sarcastic sarcasm of yours."
Ken Morley, "I expect nothing. That's why I'm never disappointed."
Ted Martin, on the phone, "Where am I? I'm on the other end of the phone."
Doc Howe, "Maybe being a woman ain't a crime - in Nebraska."
Mrs. Atherton, "We've got eight pieces of luggage, countin' the umbrella. See that everything gets off. Everybody in New York's a thief."
Mrs. Atherton, "Well, it seems a funny name to call a place that's free of locusts, Locust Valley."
Mrs. Atherton, "A thing makes sense, or it doesn't make sense."
Mrs. Atherton, "Out in Nebraska, when they give a place a name, the name means something." Martha Aldrich, "Lincoln was never in Nebraska, Aunt Lu, and yet that's the name of the capitol." Aunt Lu, "He could have come if he wanted to - it was there."
Martha Aldrich, "You see, I not only don't know how to play bridge; I don't even know how to watch bridge." Ken Morley, "Well, I wouldn't be surprised if getting away from bridge players keeps as many people occupied at night as playing bridge does."
O'Sullivan plays Martha Aldrich, a young small-town teacher from Upper Platte, Nebraska. She inherits the Globe-Leader from a distant relative. Oliver is her aunt, Mrs. Atherton, whom she calls Lu. The aunt is a sort of mother hen, watchdog and companion of Martha. Naturally, she will go to New York with her niece. And Pidgeon plays Ken Morley, the managing editor of the newspaper. After his mistaken presumption of an old maid, stick-in-the-mud schoolteacher, Morley is very pleased to find the young and intelligent Martha as the heiress. One can guess where the film will go from there - with romance between the two.
But some good twists and meat to the story come from a couple of adventures the new owner gets into as a reporter for her paper. The film has some funny dialog, including frequent pithy lines from Aunt Lu. This is a warm comedy with a down-home feel that all ages should enjoy. Well, at least all who don't need constant adrenaline rushes to be entertained.
Here are some favorite lines from the film.
Mrs. (Aunt) Atherton, "You'd live in that school if they'd let you." Martha Aldrich, "I like to teach school." Mrs. Atherton, "Nonsense. Nobody likes to teach school - anybody that isn't homely. I'll say this for you - you may be crazy, but you're not homely."
Mrs. Atherton (Aunt Lu), as the phone rings, "Shall I answer the phone?" Martha, "Oh, you might as well - that's why they ring it. When they don't want you to answer, that's when they don't ring." Aunt Lu, "That's another thing - that sarcastic sarcasm of yours."
Ken Morley, "I expect nothing. That's why I'm never disappointed."
Ted Martin, on the phone, "Where am I? I'm on the other end of the phone."
Doc Howe, "Maybe being a woman ain't a crime - in Nebraska."
Mrs. Atherton, "We've got eight pieces of luggage, countin' the umbrella. See that everything gets off. Everybody in New York's a thief."
Mrs. Atherton, "Well, it seems a funny name to call a place that's free of locusts, Locust Valley."
Mrs. Atherton, "A thing makes sense, or it doesn't make sense."
Mrs. Atherton, "Out in Nebraska, when they give a place a name, the name means something." Martha Aldrich, "Lincoln was never in Nebraska, Aunt Lu, and yet that's the name of the capitol." Aunt Lu, "He could have come if he wanted to - it was there."
Martha Aldrich, "You see, I not only don't know how to play bridge; I don't even know how to watch bridge." Ken Morley, "Well, I wouldn't be surprised if getting away from bridge players keeps as many people occupied at night as playing bridge does."
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