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A struggling painter takes a job as a secretary to a female advertising executive. While working to obtain an account from a tobacco company, they end up falling in love. Written by
Ken Carson <firstname.lastname@example.org>
You're a beautiful brain and beautiful clothes. No temperature, no pulse. That's all.
Where did you learn about women, Verney?
It isn't a matter of learning. It's instinct.
I'm a brain with no pulse, eh? I'm a woman, Verney, more woman than you'll ever know.
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At the end of the last scene, the camera zooms in on a billboard, which shows the closing credits...and an ad for the film's fictional tobacco company. See more »
Enjoyable romantic comedy with the Mitch Leisen touch...
ROSALIND RUSSELL and FRED MacMURRAY have seldom had their flair for light comedy seen to better advantage than in TAKE A LETTER, DARLING in which the battle of the sexes involves Russell's career woman falling in love with her male secretary--really more of a personal assistant here and one she hires to make deals with clients and their wives.
MacMurray comes to resent the position he's placed in and there's some genuine wit and satisfactory situations resulting when Russell uses him to make her various deals. Predictably, she falls in love with him and it takes the whole story for the two to finally meet on common ground after a series of misunderstandings and plot complications involving MACDONALD CAREY and CONSTANCE MOORE as a brother and sister team who are both schemers who can match Russell any day.
It's all very brisk, very '40s style in the way the situations are resolved. ROBERT BENCHLEY has a more subdued role than usual in comic support.
But the chemistry between MacMurray and Russell is what keeps the whole thing bubbling along to a predictable enough conclusion.
MACDONALD CAREY has one of his better roles as "the other man" who has already had four wives and decides Russell should be his fifth.
Summing up: Amusing and well worth your time with a clever script by Claude Binyon.
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