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The Perfect Woman (1949)

 |  Comedy, Sci-Fi  |  April 1950 (USA)
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Ratings: 5.8/10 from 102 users  
Reviews: 6 user | 1 critic

In need of cash, Roger Cavendish and his valet take a job escorting the perfect woman for a night on the town. She is in fact the robotic creation of Professor Belman, but it turns out ... See full summary »



(adaptation) (as George Black) , (dialogue) (as J.B. Boothroyd) , 3 more credits »
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Cast overview, first billed only:
Patricia Roc ...
Nigel Patrick ...
Roger Cavendish
Miles Malleson ...
Prof. Ernest Belman
Irene Handl ...
Mrs. Butters
Anita Sharp-Bolster ...
Lady Diana (as Anita Bolster)
Fred Berger ...
David Hurst ...
Wolfgang Winkel
Pamela Devis ...
Olga the Robot
Jerry Verno ...
Football Fan On Underground
Johnnie Schofield ...
Ticket Collector
Philippa Gill ...
Lady Mary
Jerry Desmonde ...
Dress shop manager
Model in shop
Noel Howlett ...


In need of cash, Roger Cavendish and his valet take a job escorting the perfect woman for a night on the town. She is in fact the robotic creation of Professor Belman, but it turns out rather to be the Professor's niece Penelope doing a pretty good imitation of the perfect Olga who winds up with them in the bridal suite at the Hotel Splendide. Written by Jeremy Perkins <>

Plot Summary | Add Synopsis


Comedy | Sci-Fi


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Release Date:

April 1950 (USA)  »

Also Known As:

Geliebte nach Maß  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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User Reviews

Not so perfect
20 March 2007 | by (United Kingdom) – See all my reviews

As a British attempt to do some American 'screwball' comedy, it falls very short of the mark. Perhaps the same vehicle in the hands of someone like Cary Grant could have made it work but not the set of actors in this. As a traditional British farce it works better but not by much, and sadly points up the fact that light comedy was not really Nigel Patrick's forte.

In a short role as a effeminate dress sales clerk, Jerry Desmonde goes as far as you could without shouting out 'gay man,' in the days of fifties cinema. Pity his later roles were mainly playing stooge to the likes of Norman Wisdom.

This type of broad slapstick farce and comedy of errors was slowly dying out to be replaced by the more subtle Ealing comedies. And wouldn't really return till the more risqué Carry Ons of the swinging sixties.

All a bit dated in all and only vaguely amusing in the sense of 'they don't make them like that any more' type of way.

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