The More the Merrier (1943)

Director:

George Stevens

Writers:

Robert Russell (screen play) &
Frank Ross (screen play) ...
(more)

Release Date:

23 October 1943 (Sweden)

Genre:

Comedy | Romance

Tagline:

"Sharing my bath and kitchen with two men...That drove me nuts!" (original Insert Card)

Plot:

During the WW2 housing shortage in Washington, two men and a woman share a single apartment and the older man plays Cupid to the other two.

Plot Keywords:

Apartment | Housing Shortage | Washington D.C. | Elderly | Broken Engagement

Awards:

Won Oscar. Another 1 win & 5 nominations

Cast

Jean Arthur	...	Connie Milligan
Joel McCrea	...	Joe Carter
Charles Coburn	...	Benjamin Dingle
Richard Gaines	...	Charles J. Pendergast
Bruce Bennett	...	FBI Agent Evans
Frank Sully	...	FBI Agent Pike
Donald Douglas	...	FBI Agent Harding (as Don Douglas)
Clyde Fillmore	...	Senator Noonan
Stanley Clements	...	Morton Rodakiewicz
rest of cast listed alphabetically:
David Alison	...	Man in Alley (uncredited)
Sam Ash	...	Committee Member (uncredited)
Don Barclay	...	Drunk (uncredited)
Brandon Beach	...	Shaving Gag (uncredited)
Betzi Beaton	...	Miss Finch (uncredited)
Hank Bell	...	Singing Man on Apartment Stairway (uncredited)
Edward Biby	...	Committee Member (uncredited)
Gladys Blake	...	Barmaid (uncredited)
Lulu Mae Bohrman	...	Secretary (uncredited)
Sally Cairnes	...	Bathing Girl (uncredited)
Jack Carr	...	Taxi Driver (uncredited)
Ruth Cherrington	...	Night Club Guest (uncredited)
Chester Clute	...	Hotel Clerk (uncredited)
Lew Davis	...	Man Entering Elevator (uncredited)
Ann Doran	...	Miss Bilby (uncredited)
Eddie Foster	...	Taxi Driver (uncredited)
Jack Gardner	...	Hotel Clerk (uncredited)
Sugar Geise	...	Dancer (uncredited)
Hal Gerard	...	Second Statistician (uncredited)
Nancy Gray	...	Miss Chasen (uncredited)
Harrison Greene	...	Apartment Seeker (uncredited)
Henry Hebert	...	Committee Member (uncredited)
Robert F. Hill	...	Headwaiter (uncredited)
Ernest Hilliard	...	Senator (uncredited)
Helen Holmes	...	Dumpy Woman (uncredited)
June Horne	...	Girl (uncredited)
Bert Howard	...	Committee Member (uncredited)
Russell Huestis	...	Night Club Guest (uncredited)
John Ince	...	Shaving Gag (uncredited)
Fred Johnson	...	Juggler (uncredited)
Jack W. Johnston	...	Night Club Guest (uncredited)
Mike Lally	...	Man Leaving Elevator (uncredited)
Pat Lane	...	Waiter (uncredited)
Frank LaRue	...	Senator in Taxi (uncredited)
Douglas Leavitt	...	Waiter (uncredited)
Kay Linaker	...	Miss Allen (uncredited)
Eric Mayne	...	Singing Man on Apartment Stairway (uncredited)
Betty McMahon	...	Miss Geeskin (uncredited)
Shirley Patterson	...	Girl (uncredited)
Lon Poff	...	Sleeper (uncredited)
Hal Price	...	Bathing Man (uncredited)
Bertha Priestley	...	Fat Girl (uncredited)
Fred Rapport	...	Shaving Gag (uncredited)
Henry Roquemore	...	Washington Sun Reporter (uncredited)
Marshall Ruth	...	Fat Statistician (uncredited)
Ann Savage	...	Miss Dalton (uncredited)
Byron Shores	...	Air Corps Maj. Denton (uncredited)
Jean Stevens	...	Dancer (uncredited)
Grady Sutton	...	Diner Counterman (uncredited)
Diedra Vale	...	Fat Girl (uncredited)
David Ward	...	Waiter (uncredited)
Mary Taylor Williams	...	Girl (uncredited)
Douglas Wood	...	Senator in Taxi (uncredited)
Marjorie Wood	...	Snippish Woman (uncredited)

Directed by
George Stevens

Writing credits
Robert Russell		(screen play) &
Frank Ross		(screen play) and
Richard Flournoy		(screen play) &
Lewis R. Foster		(screen play)
Robert Russell		(story) &
Frank Ross		(story)
Garson Kanin		contributor to story (uncredited)

Produced by
Fred Guiol	....	associate producer
George Stevens	....	producer

Original Music by
Leigh Harline

Cinematography by
Ted Tetzlaff		(director of photography)

Film Editing by
Otto Meyer		(film editor)

Art Direction by
Lionel Banks		(art direction)
Rudolph Sternad

Set Decoration by
Fay Babcock		(interior decorator)

Second Unit Director or Assistant Director
Norman Deming	....	assistant director
Budd Boetticher	....	assistant director (uncredited)

Art Department
Rudolph Sternad	....	associate art direction

Sound Department
Lodge Cunningham	....	sound engineer (uncredited)

Music Department
Morris Stoloff	....	musical director (as M.W. Stoloff)
Sidney Cutner	....	orchestrator (uncredited)

Production Companies

• Columbia Pictures Corporation (presents)

Distributors

• Columbia Pictures (1943) (USA) (theatrical) (as Columbia)
• Columbia Pictures Corporation (1943) (UK) (theatrical)
• Columbia Pictures Proprietary (1943) (Australia) (theatrical)
• Columbia Films S. A. (1943) (Mexico) (theatrical)
• Christiaan van der Ree (1943) (Venezuela) (theatrical)
• Columbia Pictures de Cuba (1943) (Cuba) (theatrical)
• Columbia Pictures do Brasil (1943) (Brazil) (theatrical)
• Columbia Pictures of Argentina (1943) (Argentina) (theatrical)
• Columbia Pictures of Chile (1943) (Chile) (theatrical)
• Columbia Pictures of Panama (1943) (Panama) (theatrical)
• Medal Fim Exchange (1943) (Puerto Rico) (theatrical)
• Columbia Pictures (1949) (USA) (theatrical) (re-release)
• RCA/Columbia Pictures Home Video (1990) (USA) (VHS)
• RCA/Columbia Pictures Home Video (1991) (USA) (video) (laserdisc)
• Columbia TriStar Home Video (1995) (USA) (video) (laserdisc)
• Sony Pictures Home Entertainment (2004) (USA) (DVD)

Also Known As:

Runtime:

USA:104 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Mirrophonic Recording)

Certification:

USA:Passed (National Board of Review) | USA:TV-G | Finland:K-16 (1949) | Sweden:Btl (1949) | USA:Approved (PCA #8921)

Company:

Columbia Pictures Corporation

Trivia:

The unusual little car Connie's friends drive is a Fiat Topolino convertible. 'Topolino' means 'little mouse' in Italian.

Goofs:

Errors made by characters (possibly deliberate errors by the filmmakers): Connie mentions to Dingle that she can provide him a ride downtown, stating her regular routine being that she is the first person to be picked up by her ride, and after her there are three other passengers to be picked up. However when her ride arrives, there are already two passengers in the car (in addition to the driver) and the car is only a four-seater.

Quotes:

[first lines]
Narrator:Our vagabond camera takes us to beautiful Washington, D.C., the national capital of our United States, situated on the broad banks of the Potomac River. Living is pleasant and leisurely... for it is a city of formality and custom. Manners and courtesy are responsible for the well-ordered conduct of its daily affairs...
[...]

Movie Connections:

Referenced in Budd Boetticher: A Man Can Do That (2005) (TV)

Soundtrack:

What Is This Thing Called Love?

Charles Coburn's Oscar: "Damn The Torpedoes..."

A brief historic note: On August 5, 1864 a Union fleet commanded by Vice Admiral David Glasgow Farragut, attacked the Confederate Gulf Port of Mobile, Alabama. Farragut had a flock of new monitors in his fleet (although he was aboard his flagship, U.S.S. Hartford), and one of the monitors, the U.S.S. Tecumseh, hit a mine (called a "torpedo" back then) laid by the Confederates. Except for the ship pilot the entire crew of the monitor was lost. There was a wave of uncertainty following this disaster, and the Union ships began seeming to fall apart rather than keeping their lines as planned. Farragut, surveying the disaster from the rigging of his ship, yelled through a megaphone, "Damn the torpedoes, full speed ahead!" The line became immortal - like John Paul Jones' "I have not begun to fight" or George Dewey's "You may fire when ready Gridley" or Oliver Perry's "We have met the enemy and they are ours." Farragut won the battle, and it remains the greatest naval battle of the American Civil War (outside the "Monitor-Merrimac" duel: see IRONCLADS). The victory happened to be the first good news the North had had in months of stalemated fighting (or worse) in Virginia and Georgia. It was the first of a series of victories that helped change President Abraham Lincoln's certain defeat to reelection victory in November of that year.

I know that it is odd to begin a discussion of a World War II comedy with a brief explanation of a Civil War battle some eighty years earlier, but Farragut's quote is frequently mentioned in the course of THE MORE THE MERRIER - indeed it is sung at one point in an old song by the real star of the picture, Charles Coburn. The song and the quote show his philosophy of life - to get to the heart of the problem and take care of it effectively.

Benjamin Dingle is a millionaire, now doing a "Dollar a Year" job in wartime Washington. There is a housing shortage that Dingle is confronting everywhere, but he finds that there is an advertisement for a roommate that he is determined to grab. It was put into the newspaper by Connie Milligan (Jean Arthur) and Dingle lies his way into getting ahead of anyone else into the apartment. When Milligan points out the obvious sexual problem (male/female roommates?) Dingle points out he's too old for her, and he would actually not be as much of a pest as another woman would be (who might try to borrow her clothes). Subsequently Dingle discovers a young engineer named Joe Carter (Joel McCrae) who also was interested in renting part of the apartment. Dingle decides to rent to Carter, without immediately telling Milligan. There is a great moment when (before Dingle has a chance to tell her) Connie and Joe are able to go through the narrow apartment several times just missing each other.

Connie does not mind the problems of renting to two men, as the presence of two men protects her. But she has an understanding with a bureaucrat, Charles Prendergast (Richard Gaines), who is very image conscious and ambitious - so she hopes to keep the renting of the rooms regarding Joe Carter from him. This becomes more and more difficult as time goes by, as she and Joe find they like each other. Dingle notes this and is soon playing matchmaker.

The film was a great comic showcase for Coburn. Charles Coburn had been a successful Broadway actor in the period 1910 - 1930s, frequently appearing with his wife in Shakespearean roles. If one goes to the 42nd St. Public Library's second floor there are two portraits of the younger Coburn and his wife in Shakespearean costumes. Then Mrs. Coburn died. Coburn had been (like his contemporary Sidney Greenstreet) rejecting offers to go to Hollywood. He went to Hollywood in 1938 and soon was appearing in good supporting parts, such as YELLOW JACK (he was Dr. Finley) and as the German cancer specialist in IDIOT'S DELIGHT. The parts got larger as time passed: he is the incestuous uncle after Bette Davis (who subsequently finds he's going to die) in IN THIS OUR LIFE. He is the anti-Semitic family head who loathes Peter Lorre in THE CONSTANT NYMPH. He is the sadistic surgeon who cuts off Ronald Reagan's legs as punishment for sleeping with his daughter in KING'S ROWS.

As you can see, most of Coburn's parts in the late 1930s and early 1940s were dramatic, and they were getting bigger, but his comic gifts were rarely pushed. His performance in Preston Sturgis' THE LADY EVE was an exception. George Stevens, a director who (like Leo McCarey) had a background as a comic director with Laurel & Hardy, decided to use him in the atypical part of Benjamin Dingle. The part was a large one, requiring a good actor. Coburn did well with it and created (like Greenstreet would differently with Caspar Gutman in THE MALTESE FALCON) a persona that remained his to the end. Coburn would be playing the common sensible, straight talking grandfather, uncle, or elderly friend in films until he died - occasionally varying the role with a bit of silliness like in MONKEY BUSINESS. Here it resulted in Coburn's Oscar for best supporting actor. He'd been in Hollywood five years by then, but his real beginning in film was here - and it was a fine beginning.

It was Coburn's second movie comedy with Jean Arthur (the first was THE DEVIL AND MISS JONES), and they certainly play well against each other. Similarly Joel McCrae's comic timing is a sure here with Stevens as it was with Preston Sturges. It's funny how, due to McCrae's long career in westerns, people forget all the screwball comedies he made earlier in his career.