A harried, overworked advertising executive is being pursued romantically by one of his clients, a successful perfume magnate ... and his former fiancée. The latest client of the agency is ... See full summary »
A harried, overworked advertising executive is being pursued romantically by one of his clients, a successful perfume magnate ... and his former fiancée. The latest client of the agency is a psychiatrist and author of a new book. When the executive goes over to discuss the ad campaign, the psychiatrist turns out to be a woman. But what does he really need? Romance? Or analysis? Written by
The situation has potential. A stressed-out ad man meets a beautiful shrink. Object: psychiatric humour. And maybe a little romance.
Unfortunately, the result could best be described as innocuous, like some sort of benign medical condition.
Bob Cummings plays his usual amiable self. But the real reason anyone would watch this film is, of course, Hedy Lamarr. She looks the way one would expect Hedy Lamarr to look in 1948. Fantastic. She is forced to wear an off-the-shoulder gown at one point to better show off her ... scintillating jewellery. The real conundrum is how Hedy avoided being the top pin-up of World War II. Maybe it was the saltpetre they put in the army chow.
Hedy's real-life role as a torpedo guidance system designer -- apparently that story about her is absolutely on the level -- is easier to accept now after seeing her as a no-nonsense, supercilious psychiatrist, sort of an early prototype for Dr. Lilith Sternin Crane.
The two Roberts -- Cummings and Shayne -- compete for the attention of Hedy. This gets a little childish with Shayne trying to pump himself up physically at one point. Also, characters often gaze at one another, then see the other person transformed inside a shimmering aura into the object of their true desire. Funny, but both these plot elements -- childish male competitiveness, and idealized shimmering figures -- appeared in a far superior film, "The Bachelor and the Bobby-Soxer", the previous year, 1947. I'm sure it's just a coincidence.
The film has some silly "psychological" dream sequences which are played for laughs, and which for contemporary audiences may have been a mild spoof on Hitchcock's "Spellbound" from 1945.
Anyway, it's too bad that all this seems to add up to so little in the end. Bob Cummings co-produced this film. It's a pity he couldn't have hired a script doctor.
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