Certainly the title of women's liberation educational author Loretta Young's book ("Spinsters ain't Spinach") is poorly written and that gives a weak opinion instantly towards her character, instantly antagonistic and later manipulative, batting her eyes at professor Ray Milland to get him to take her to New York against his will.
She proceeds to bash him and all men without him getting a word in edge wise, and she's lucky that he didn't force her out of his car in the middle of nowhere. But when they end up in the facade of marriage after she's mistakenly reported as married to him, all it takes are a few homey moments for them to finally learn how to communicate.
However, Milland already has a fiancee (Gail Patrick), unhappy to read about the supposed marriage, and in one scene, Milland must entertain at two parties next door at once. The film gets quite caught up in the slapstick, with Edmund Gwenn, Reginald Gardiner and Frank Sully adding to the silliness of this absurd plot.
The changes in Young's character (realizing that she wants to stay in this marriage) are a bit far fetched, and the presentation of spinsters as hawk nosed and frigid (outside of Young) isn't representative of the real woman in pre-war America. Not surprising that it was written by two men, and directed by one (Alexander Hall), and it indicates that women can only be happy by being loved, insinuating that man hating spinsters only are that way because they have been constantly rejected.
She proceeds to bash him and all men without him getting a word in edge wise, and she's lucky that he didn't force her out of his car in the middle of nowhere. But when they end up in the facade of marriage after she's mistakenly reported as married to him, all it takes are a few homey moments for them to finally learn how to communicate.
However, Milland already has a fiancee (Gail Patrick), unhappy to read about the supposed marriage, and in one scene, Milland must entertain at two parties next door at once. The film gets quite caught up in the slapstick, with Edmund Gwenn, Reginald Gardiner and Frank Sully adding to the silliness of this absurd plot.
The changes in Young's character (realizing that she wants to stay in this marriage) are a bit far fetched, and the presentation of spinsters as hawk nosed and frigid (outside of Young) isn't representative of the real woman in pre-war America. Not surprising that it was written by two men, and directed by one (Alexander Hall), and it indicates that women can only be happy by being loved, insinuating that man hating spinsters only are that way because they have been constantly rejected.