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The Feminine Touch (1941)

Approved | | Comedy | October 1941 (USA)
John Hathaway is a professor of psychology at Digby College. His students are bored as he is with the students. He leaves college to go to New York to have his manuscript on jealousy ... See full summary »

Director:

W.S. Van Dyke (as Major W.S. Van Dyke II)

Writers:

George Oppenheimer (original screenplay), Edmund L. Hartmann (original screenplay) | 1 more credit »
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Cast

Complete credited cast:
Rosalind Russell ... Julie Hathaway
Don Ameche ... John Hathaway
Kay Francis ... Nellie Woods
Van Heflin ... Elliott Morgan
Donald Meek ... Capt. Makepeace Liveright
Gordon Jones ... Rubber-Legs Ryan
Henry Daniell ... Shelley Mason
Sidney Blackmer ... Freddie Bond
Grant Mitchell ... Dean Hutchinson
David Clyde ... Brighton
Rest of cast listed alphabetically:
Forrester Harvey ... (scenes deleted)
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Storyline

John Hathaway is a professor of psychology at Digby College. His students are bored as he is with the students. He leaves college to go to New York to have his manuscript on jealousy published. John and Julie go to Elliott Morgan Publishing to discuss his book. Being that it is highly technical and boring, Nellie wants to focus on the small part about couples that she thinks will sell. But it soon becomes apparent that everyone is more intrigued by Julie than the book. Elliott tries to make advances on Julie while Nellie is more interested in John than his book. Julie, however, is worried about John, while John, who wrote the book on jealousy, seems oblivious to it and thinks that he knows everything about jealousy. Written by Tony Fontana <tony.fontana@spacebbs.com>

Plot Summary | Add Synopsis

Taglines:

If Your Sweetheart's Not Jealous, It's Not L-O-V-E!

Genres:

Comedy

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

October 1941 (USA) See more »

Also Known As:

All Woman See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Don Ameche's first film for MGM. He had made a screen test there in 1935 and was rejected, but was signed the following year by 20th Century-Fox. See more »

Quotes

Nellie Woods: [to Elliott] If you're lying, I'll kill you and go to the chair with a song on my lips.
See more »

Connections

Features The Wizard of Oz (1939) See more »

Soundtracks

Jealous
(1941) (uncredited)
Music by Jack Little
Lyrics by Dick Finch and Tommie Malie
Played as background music during the opening and end credits
Sung by an unidentified woman at a nightclub
Sung a cappella by Rosalind Russell
Played as background music often
See more »

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User Reviews

 
What an odd little movie.
6 December 2002 | by plaidpotatoSee all my reviews

Strange, strange, strange. This does not feel anything like a typical Hollywood movie from 1941. At times, it feels almost like a proto-Woody Allen film, talky and intellectual and neutotic in a very Woody-like sort of way. And then there were a couple of moments when I thought of 60s-style European auteur cinema, especially Fellini. And then there are moments of standard Hollywood-style screwball comedy. And then there was that utterly bizarre and hilarious dream sequence with the Dali-esque set design--I was reminded of that dream sequence from Hitchcock's Spellbound.

Three different writers are credited with the screenplay, and inconsistency in writing styles seems glaringly apparent as the film plays out. Subtle and witty at times, the writing becomes painfully clumsy and forced at others, especially when it goes for a broader style of comedy or when it tries to advance the plot.

I don't know the story behind the making of this film, but it feels very tampered-with, like maybe it started with a clever and original screenplay, but the studio execs didn't trust it and so they hired a couple of hack writers to come in and dumb it down for the masses. It feels like it ALMOST could have been something of a classic. It's still very worth watching, though. The storyline is interesting and, in a way, seems about 30 years ahead of its time. I'd be particularly interested to hear a feminist scholar's take on the film.

Do women really prefer a caveman to an intellectual, a protector to a partner? Despite the feminist movement, it still seems to hold true. Perhaps I should grow a beard.


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