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  • The Cowboy and the Lady will never be listed among the top features of either Gary Cooper and Merle Oberon's careers, but it has a unique place in Hollywood lore. Supposedly producer Sam Goldwyn came up with this title and then set about hiring the creative title to fashion a story and then a film from it. Not the usual way the creative process flows even in Tinseltown.

    Merle is yet another rich girl who's bored living in her mansion because politically minded dad, Henry Kolker who's running for president. This budding Theodore Roosevelt doesn't want an Alice on his hands, he keeps Merle on a tight leash. Even after she gets busted in a nightclub raid with her fun loving uncle Harry Davenport.

    When two of her maids go out on a double date with a pair of traveling rodeo cowboys, Merle goes along because the cowboys have a third and she hits the jackpot because the third is Gary Cooper. Of course Merle pretends to be a third maid.

    Anyone who saw even a couple of thirties screwball comedies knows exactly how this one is ending up. Director H.C. Potter borrowed rather liberally from Frank Capra, there are elements of Mister Deeds Goes to Town and It Happened One Night in the story.

    Still it's a pleasant enough piece of fluff and sure didn't do anyone's career any harm who was associated with it. Look for good typecast performances from Patsy Kelly and Mabel Todd as the maids and Walter Brennan and Fuzzy Knight as Cooper's rodeo buds. They all perform strictly to type.
  • "The Cowboy and the Lady" starring Gary Cooper and Merle Oberon was written after Sam Goldwyn thought up the title - so it's the reverse of the usual process. It's a 1938 film about a wealthy, sheltered young woman (Oberon) whose father is about to announce his candidacy for President. One night, she slips out for a night of fun with her uncle (Harry Davenport). When her name is discovered on a list of people who were in attendance at a club during a raid, she is sent out of town so her father can say she wasn't in town at the time. Since her name is Mary Smith, it could easily be another person.

    While on her vacation, Mary meets a tall, gorgeous hunk of man - a cowboy named Stretch Willoughby (Gary Cooper). As any red-blooded woman would do, she falls for him. It's young Gary Cooper. He's a hottie. To put them in the same class, she says she's a maid. Before she knows it, she's married to him.

    The stars are very good in the film, as is Harry Davenport as the uncle with a twinkle in his eye. Cooper and Oberon are darling together - he's so tall and broad-shouldered and she's beautiful and petite, and they have a nice chemistry. When she first asks him about himself, Stretch answers with Cooper's famous "Yep" several times. Parts of the film are a little slow but it's a nice romance. I realize some people think it's a preposterous love story but I can see any woman, rich or poor, flipping out for Gary Cooper and any guy falling for Merle Oberon. They were, after all, two of Hollywood's great beauties.

    Very enjoyable.
  • Leo McCarey was one of the co-writers of this romantic/screwball comedy which might account for the fact that it is several notches above the average, (though Dorothy Parker and Lillian Hellman and a whole host of others are also said to have contributed), and is both very funny and very likable. Like so many other comedies it's based on the premiss of mistaken identity, in this case when cowboy Gary Cooper assumes rich Merle Oberon is a lady's maid. Naturally they fall in love. H C Potter directed, very nicely indeed while the excellent screenplay is credited to S.N. Behrman and Sonya Levien. Both Cooper and Oberon are very good indeed though a decent supporting cast are given too little to do. It won an Oscar for Best Sound Recording and was also nominated for it's score and for Best Song.
  • The film opens with a dinner scene, where we learn that someone is running for office; cut to the two brothers Hannibal (Harry Davenport, always played the kindly uncle or judge) and Horace Smith (Henry Kolker), lamenting about the antics of Horace's daughter Mary ( Merle Oberon ). There's the setup of the movie, and being filmed in the prime of the Hayes Code, we know there will be comical, but innocent , simple, misunderstandings. Love the symbolism of Mary knocking over the "house of cards" she has built on the coffee table. Great scene where she talks about the rules of dating with the maids (the hilarious Patsy Kellly & Mabel Todd). Enter Gary Cooper as the polite cowboy "Stretch Willoughby". Say no more. Just watch for the ups and downs as sidekick Walter Brennan makes wisecracks to help the plot along, along with some slapstick physical comedy. Also check out the cast of thousands in the writer category, which includes greats Anita Loos, Dorothy Parker. Directed by Henry Potter, who would make THREE movies with Cary Grant! Fun, but probably would have been more hilarious if it had been filmed prior to the production code.
  • Considering the film has Merle Oberon and Gary Cooper, it couldn't help but be watchable...and it certainly was. The problem for me, though, is that with these actors and a concept that was decent enough, the film's script sure didn't do much with this. Instead, it has some nice moments as well as some lulls.

    Perhaps it was just too much pawning off the idea of Merle Oberon with her exotic ways and accent as a rich lady in love with Cooper. While the idea of a society lady falling for a cowboy, Oberon just seems too distant and cold to make it all seem possible. I really think someone a little more "human" could have made this odd pairing work well. Oberon was a fine actress but I just don't think she was right for this film.

    Perhaps it was that once the two fell in love, the film just stagnated until near the end. They married and yet the film still had a long way to go and the middle just seemed like filler at times--particularly Cooper's pantomime sequence inside their new house.

    Whatever the reason, the film just seemed like an agreeable time-passer and nothing more. Inoffensive and just a tad bland. For a SLIGHTLY better variation of this same plot, try seeing the John Wayne and Jean Arthur film LADY TAKES A CHANCE--it has better chemistry and is just a better film in most respects.
  • A modern fairy-tale in the tradition of Cinderella and Snow White. This movie has aged well and should be easily absorbed by today's audience. When you think of it, that is a hallmark of Gary Cooper films. He is the everyman, the themes are simple and timeless.

    Cooper is in typically good form in this movie, and so is his beautiful and delightful co-star Oberon. The film is loaded with humor, romance and a touch of social commentary. A must see for fans of Cooper, Oberon, Jimmy Stewart or Frank Capra. A perfect "date" movie. One of my most favorite films. Hidden gem.
  • lovewenn21 August 2007
    Warning: Spoilers
    I watched this movie for the first time on what used to be a great channel AMC when I was about 10 years old. At the time, I thought old movies were silly especially black and white ones. I had all the stereotypes down and hated westerns most of all. After seeing this movie I was hooked on old movies, and watched AMC religiously, but never saw this one again until last year when TCM premiered it on their channel.

    Is it the greatest storyline ever told? Umm,no. I think a lot of people miss an important line to make it seem more plausible. Mary Smith grew up on a farm with her father and uncle until her father decided to get into politics for whatever reason. She even makes a comment to him early on that she wished they could go back to those days before she even met Stretch. Thus making it more realistic that she wouldn't miss the rich life.

    The pantomime scene is the best scene and stuck with me for years. What a man in love will do.
  • Transparently masked as a "Western", this fairly standard & predictable Screwball Comedy from 1938 relied too greatly on the "Aw-Shucks!" appeal of actor Gary Cooper.

    Not only that, but it also banked too heavily on the on-screen chemistry that was supposed to transpire between Cooper's character and that of actress Merle Oberon, as well.

    For the most part this Chick Flick (which was typical of its era) was fairly good-natured and quite uncomplicated about the motives of its storyline - But the truth was that Gary Cooper (pushing 40 at the time) was clearly too old for his part and his character was just a little too "Golly-Gee!" wholesome and naive to be at all believable.

    It really killed me how much rich girl Mary Smith loved the be roughly man-handled and repeatedly knocked off her high-horse by the likes of "Stretch" Hawkins (Cooper).

    All-in-all - The Cowboy And The Lady was OK, as far as a stock, 1930's Romantic/Comedy goes. But, the truth is, there was nothing remarkable about this picture in any way, whatsoever.
  • Caz19642 December 2005
    I saw this film as a teenager about 20 years ago,and its always remained one of my favourite romantic films.you can easily get lost in the beautiful locations this film is set in.The story is a simple one,with no confusing plot,so you just watch it for the beautiful chemistry between the two stars and the sweet storyline.It shows that films made during this era were far more romantic than that of today,they had lots of innocence about them,today they are handled a bit to heavily and you cant feel as sensitive towards them.I don't really think this film dates at all,i think this film can still be absorbed by a modern audience,as the film is basically about opposites attract which everyone can relate to .And also the two characters are just timeless,their different personalities really compliment each other,i do love this film.
  • krorie10 February 2006
    Warning: Spoilers
    Though slow moving at times, overall "The Cowboy and the Lady" is an entertaining romantic comedy with a twist, a high society lady whose father is about to throw his hat into the ring as a candidate for President falls head over heels in love with a rodeo cowboy. There are two scenes that really pack a comedic wallop. One is aboard the ship from Florida to Galveston, Texas, when 'Stretch' Willoughby (Gary Cooper) compares horses to people while wooing Mary Smith (Merle Oberon) when suddenly a crew member starts singing an outlandish song, "Give a man a horse he can ride." It becomes more outrageous when Stretch joins in and Mary ends the tune with a bass vocal.

    The other is when Stretch pretends to be entertaining his beloved wife, Mary, in their new house with only the framework completed. Cooper shows a hidden talent for pantomime that is very good indeed. Before he knows it his partners played by a bow-legged Walter Brennan and Fuzzy Knight along with the carpenters are invited in and play along with Stretch's fantasy. The spell is broken with the appearance of Ma Hawkins who brings everyone back to reality by delivering a dreadful telegram.

    There is one telling part near the end when Stretch searching for his wife appears as an unwanted and unwelcome guest at a political dinner. The big-wigs spout several false concepts and prejudices that exist concerning the American cowboy. Their ignorance is further denoted when Oliver Wendell Henderson attempts to show his knowledge of the west by declaring Montana to be the Lone Star State. Stretch carefully corrects Henderson, then proceeds to shoot them all down with his rebuttal.

    There were several cooks sirring the broth when it came to writing the sometimes witty script. Amongst the writers were Dorothy Parker, Leo McCarey, Anita Loos, and some say Garson Kanin.
  • I love this movie for several reasons, the plot, the acting and the beautiful cinematography. There are beach scenes and others that have a dreamlike, gauzy quality that I really love. Gary Cooper is the naive but cute cowboy and Merle as Mary the wealthy socialite who tries to hide it from him. She doesn't mean any harm, she's lonely and isolated and finds herself in an awkard situation that gets worse quickly. Don't miss Walter Brennan as his sidekick (as usual) and the other fun characters throughout this sweet and fun movie.
  • This film has about as far-fetched of a plot as you can find: a Presidential candidate's wily daughter goes on holiday, takes company with a brooding young cowboy and eventually marries him. Without a doubt, this film is a curio, but is still watchable for the performances of two of my favorite actors, Oscar-winner Gary Cooper and Oscar-nominee Merle Oberon. Won the Academy Award for Best Sound.
  • Warning: Spoilers
    A lonely socialite (Merle Oberon) is sent by her presidential hopeful father (Henry Kolker) to Palm Springs to avoid scandal after she's discovered in an illegal gambling joint. The spunky deb convinces her maids (Patsy Kelly and Mabel Todd) to set her up on a blind date with a cowboy (who turns out to be Gary Cooper) from a local rodeo and falls in love with him. But there's all sorts of bumps in this road to love, and it will take some fixin' for it to prevail.

    This totally charming comedy is a nice chance to see the usually ladylike Oberon do some pratfalls and she does so nicely without loosing her class. What could be silly is handled with a romantic script that makes the pairing believable. This has one of the great supporting casts, although it is predictable that the less than glamorous comic supporting actresses will end up with the scraggly character actors (Fuzzy Knight and Walter Brennan) while beauty Oberon gets hunky Cooper.

    Emma Dunn is adorable as Cooper's surrogate mother, "Ma Hawkins". There's a nice recurring gag between the two that is affectionate and endearing. Harry Davenport is hysterically funny as Oberon's lovable uncle, her biggest supporter who tries desperately to wake his one-sided brother (Kolker) up to Oberon's needs over his own, yet isn't afraid to perform a lively jitterbug. This is one of the rare cases of opposites attracting on screen that really works, even though Oberon's sophistication betrays her supposed job as a ladies' maid. Still, she's very funny in dealing with such poor man's items as a collapsing cot and sticky fly paper.

    While most of the film is charming and light-hearted, it does turn into Capra-like corn as Cooper confronts the snobby associates of Oberon's father with a list of what the country really needs. This scene is totally faithful to the plot of the film and gives the story some substance in addition to amusement.
  • Gary Cooper is fantastic in this movie. He is one great actor who gets you laughing on the floor! This is a really good romantic movie! It makes people believe that true romance is possible between a man and a woman, even if they are from very different backgrounds.
  • Warning: Spoilers
    Copyright 30 November 1938 by Samuel Goldwyn. Released through United Artists. New York opening at the Radio City Music Hall, 24 November 1938 (ran 2 weeks). U.S. release: 17 November 1938. Australian release: 16 February 1939. 9 reels. 91 minutes.

    SYNOPSIS: Fun-loving heiress strings along a dumb but eager cowpoke who is unaware of her real identity.

    NOTES: Academy Award, Thomas Moulton (only) Sound Recording. Also nominated for Best Original Music Score (The Adventures of Robin Hood won); and Best Song (the title ditty) which was defeated by "Thanks For the Memory" from The Big Broadcast of 1938.

    Despite the raft of writers (see below) who concocted this disappointing fling, the plot is as predictable as the synopsis suggests, with characters and dialogue so vapid and inconsequential they do nothing but waste the talents of a fine cast.

    No amount of glossy window-dressing by director, photographer, art directors and music scorer can disguise the script's basic poverty of invention, its supremely unmemorable plot and dialogue. All it adds up to is an extremely dated romance whose comic overtones must have been judged feeble and uninspired even by the most indulgent 1938 audience.

    Writers included Anita Loos and John Emerson, Dorothy Parker and Alan Campbell as well as Frederick Lonsdale, Howard Estabrook, Robert Ardrey, Eddie Moran, Frank Ryan, Gene Fowler, Robert Riskin, and Richard Connell. Yes, they all worked on the script at one time or another.

    The film commenced shooting on 15 June 1938 with William Wyler directing. Three days later, he was replaced by Potter because Goldwyn thought Wyler was working too slowly. However, Potter himself left before finishing the movie (he had a prior commitment to direct "The Story of Vernon and Irene Castle"), so Stuart Heisler finished up.

    All these headaches, plus cast replacements (Henry Kolker for Thomas Mitchell, while roles originally set for David Niven and Benita Hume were eliminated) brought the negative cost up to an incredible $1.8 million. (Thanks to Alvin H. Marill in "Samuel Goldwyn Presents" — A. S. Barnes, 1976 — for these interesting facts.)
  • Warning: Spoilers
    Produced by Samuel Goldwyn, and directed by H.C. Potter, with a story by Leo McCarey and Frank Adams, and contributions from several other writers including S.N. Behrman and Sonya Levien, who received the screenplay credits, this average romantic comedy won an Academy Award for its Sound; its title song and Score were Oscar nominated.

    According to Goldwyn biographer A. Scott Berg, McCarey told a story off the cuff to a bunch of the producer's writers, one evening, who then had to write the screenplay from what they'd heard.

    It stars Merle Oberon as the sheltered wealthy daughter of a man (Henry Kolker) who's seeking his party's nomination for POTUS. Concerned that her actions, like an appearance at a nightclub which was raided while she was with her fun-loving uncle (Harry Davenport), might jeopardize his standing with an influential power broker (Berton Churchill), her father sends her to their vacation home in Palm Beach, Florida. While she's there, she meets a rodeo cowboy, played by Gary Cooper, and the predictable happens.

    Oberon plays Mary Smith, daughter of Horace (Kolker) and niece of Hannibal (Davenport). Irving Bacon appears uncredited as Smith's secretary. Bored of being sequestered (e.g. in Florida), she goes with her two servants, Katie (Patsy Kelly) and Elly (Mabel Todd), on a blind date to a rodeo where she awed by the talents of one of the cowboys she later meets, a reluctant 'Stretch' Willoughby (Cooper). Katie's date is another cowboy named Sugar (Walter Brennan) and Elly's is Buzz (Fuzzy Knight). As far as the three cowboys know, the three girls all work for an absent wealthy woman.

    Inexperienced in dating, Mary follows the other girls' advice and tells an untrue sob story to Stretch about how she's taken care of her four siblings and aging parent. So, he believes he's finally found what he'd always been looking for in a woman, a "workhorse" in lieu of a "show horse", the type of woman he'd always seemed to find in the past. In fact, he thinks Mary is a younger, prettier version of Ma Hawkins (Emma Dunn), the mother figure who takes care of his Montana ranch. Love struck, he asks for her hand. Though she thinks it's all too soon, he tosses her in the swimming pool which (somehow!) convinces her to follow him to the dock where his rodeo show is packed up and ready to leave for Galveston by boat. She impulsively decides to go along, one thing leads to another, and the next thing you know the two of them are saying "I do" in front of the ship's captain (Frederick Vogeding) ... despite the fact that Mary's yet to tell Stretch that she's a "show horse".

    After a brief "fish out of water" sequence in Galveston, where Mary gets her one dress dirty and torn, she receives a call from Katie who informs her that her father and Oliver Wendell Henderson (Churchill) are coming to Palm Beach for a visit. Though Mary tells Katie she's married Stretch, she asks her to keep it a secret. She then tells Stretch that she's got to return home, to tell her employer et al, and promises to meet him in Montana the following week. Stretch then puts Mary on a bus (driven by Eddie Acuff, uncredited) home. Once there, she tells her uncle everything; he is understanding and tries to help. Her father, of course, is furious but accepts her situation if she promises to help with the Henderson dinner, during which he expects to receive the man's endorsement for the Presidential nomination.

    Meanwhile, back at the ranch, Stretch is getting everything ready for Mary's arrival. There are two scenes which must have been funnier when McCarey told them than when they were realized on screen: Stretch's playful (endless) pulling of Ma's apron strings, causing it to fall, and his pantomime "dinner", with the other incredulous cowboys as guests, in his to-be-completed house's framing.

    The Henderson dinner causes Mary to send Stretch her regrets, and promise to come later, but he decides to visit Palm Beach again to find her instead. Naturally, he walks in during the big event, finds out the truth about his wife (e.g. being a "show horse") and, in the film's best scene, ends up giving an everyman speech after being "talked down to" by the upper crusts.

    But, never fear. Made to feel guilty by his brother Hannibal, Horace makes things better in the end with a surprise visit to Montana. Stretch then witnesses Mary doing domestic chores under Ma's direction, gets slapped on the back by Hannibal, and the movie fades out with the newlyweds kissing in the kitchen.
  • This is a very cleverly written romantic comedy and it is well directed and performed. It is now very old but the ideas, language and style seem to have dated surprisingly little. The only scene that drags for a modern audience is the one in the Montana frame house. The rest is sharp and very entertaining.
  • evanston_dad23 September 2019
    Cute romantic comedy about a bored young rich woman who poses as a maid, meets a rugged cowboy, gets married, and then must reveal to the cowboy who she really is. Complicating this already complicated scenario is the fact that she's the daughter of a presidential candidate who's on the cusp of getting the nomination from his party and doesn't want anything, like bad press, to interfere.

    I always like Gary Cooper more when he's doing comedy than when he's doing drama, as I think he was somewhat limited as an actor and can't always pull off dramatic roles. But he's extremely engaging here. I haven't seen Merle Oberon in that much, but she's adorable in this, and she and Cooper have a lot of chemistry together. Recognizable character actors like Walter Brennan, Patsy Kelly, and Harry Davenport provide much of the film's comedy.

    "The Cowboy and the Lady" is one of those Depression-era movies about how bad a job American politicians are doing looking out for the interests of everyday working Americans, and about how politics is just a lot of rich fat cats looking out for one another. Which sadly makes it pretty relevant today.

    Winner of the 1938 Academy Award for Best Sound Recording (puzzling) and nominated for Best Original Score and Best Original Song, for the title song "The Cowboy and the Lady," though I had to look the song up on YouTube to hear it, because it's not featured prominently in the film.

    Grade: B+
  • A thin comedy which has a few amusing moments but isn't as funny or charming as it clearly believes itself to be. Oberon looks stunning, which, after seeing her in The Divorce of Lady X, shows the importance of the cinematographer to a leading lady.
  • mossgrymk16 April 2022
    Definitely the most somber 30s rom com I can recall thanks to Greg Toland's camera which seems most at home in fog enshrouded Gulf steamers and shadowy, dark Palm Beaches of the mind. And since the film is not very funny, with endless variations on the tiresome Capra-esque trope of urban=bad while rural=good, you tend to remember the cinematography way too much. C plus.
  • This is a superb example of a thirties romantic comedy. Merle Oberon, who the following year would dazzle the world in WUTHERING HEIGHTS (1939), here pre-dazzles the world with her witty charm, big eyes, and mischievous smiles. Gary Cooper is the tall (very tall, compared to Oberon, whom he cannot kiss without practically bending double) innocent cowboy whose favourite gal is his mare Bess. Oberon is the rich and cocooned daughter of a politician who wants to become President of the USA, and uses her to host his dinners just as the bachelor President James Buchanan used to do, when his daughter became 'the First Lady'. Early in this film Oberon is even toasted at one of the dinners as 'America's future First Lady'. (Her father is clearly a widower, though this is never stated.) This film had more writers than any film I have ever encountered. There were seventeen of them! The main screenplay appears to have been written by the well-known playwright and screenwriter S. N. Behrman. But he must not have done a good enough job, because 16 other people had to be brought in to pep up the script. They included such famous figures as Anita Loos and her husband John Emerson, Lillian Hellman, Dorothy Parker, and Robert Ardrey. With all that talent thrown into the soup, it is no wonder that many witty lines appear throughout the film, many of them doubtless having come from the acerbically mirthful Anita Loos. The film also had three directors, H. C. Potter being credited but the other two, including the famous William Wyler, not being credited. The reason for this deluge of talent was due to confusion on the part of Samuel Goldwyn. As several reviewers have pointed out, Goldwyn started with a title he liked and then tried to find someone to write a story for that title. Talk about top-down instead of bottom-up! There had already been three films made with the title THE COWBOY AND THE LADY. The first was a 1903 short, apparently lost. Then there were two silent films of the same title, made in 1915 and 1922, both based upon a play by Clyde Fitch. Both these films are also apparently lost, and neither had any relation with this 1938 film except for the title. Probably Goldwyn knew the title, whether consciously or subconsciously, from the 1922 film, it stuck in his mind and he got fixated upon the possibilities which it gave for an entertaining story. The juxtaposition of a cowboy and a lady was ready-made for comic possibilities, especially in America, where cowboys resonated with the public in contrast with the stuffy New England Establishment. The film succeeds in being very amusing and entertaining, and in this case too many cooks did not spoil the broth.
  • I saw this movie recently on TCM and for the most part, loved it!

    I liked the shy, bumbling character of "Stretch" and the sheltered, Mary who fell hard for him.

    Of course, being sheltered, she was limited in her experience with men.

    But fortunately, she fell hard for a man with character and who loved her truly.

    I knew that when she lied and misrepresented herself that she would be caught.

    I especially loved the night when they married. It was a sweet throwback to an earlier time when single ladies weren't in single men's rooms at night or any time for that matter! It wasn't proper in 1938. It was very sweet and romantic for Stretch to propose marriage. His search for a wife was over!

    Here are my slight criticisms:

    Also, unsure if I can believe that his REAL name was "Stretch".

    Then, there are the scenes where Mary was at the rodeo cleaning up. She became filthy and her dress was torn as a result.

    I would think that she could have had her maids send her some clothes or wire her some money so she could purchase some clothes and toiletries. Or even ask her new husband to purchase her some clothes. There was a scene where she attempted to purchase some pants but was interrupted by the phone call. Why didn't she or Stretch purchase clothing and toiletries for her she before she boarded the bus?

    Even rich ladies have to bathe and look presentable. A rich lady with her background wouldn't travel on the train for 3 days in a filthy, torn dress and unwashed. Suppose her dad and his friends had ALREADY arrived when she got there? How would she explain her appearance?

    Also, the scene in the framework of the house lasted a little too long, in my opinion.

    But other than that: I enjoyed this movie! Gary and Merle were great in the leads!
  • Warning: Spoilers
    This is the only movie I know of that boasts three directors and seventeen writers, the majority uncredited, and I have to say, alas, that it shows. It's saved to a certain extent by Harry Davenport clearly honing his charm for the forthcoming (six years later) Meet me In St Louis, but unfortunately there are large gaps where Davenport is off screen and none of the rest of the cast are up to covering for him. At times it seems as if the seventeen writers have 'borrowed' from seventeen different films in an implausible story about a woman who is at once naive and bored with her sheltered life masquerading as a maid and eloping with a rodeo rider. I could go on but you'd never believe it.
  • Charming, predictable story of "class clash" so popular in Depression-era pictures. With no need to worry about plot, you can just sit back and enjoy the performances.

    Merle Oberon hits just the right chord as a polished socialite with a hidden practical side and a goofball sense of humor. Her English accent is a trifle thick even for the "everyone rich has an English accent" days, but her physical comedy brings her back down to earth. She outshines everyone else in the film, in my opinion.

    Gary Cooper plays Gary Cooper as usual, but there were two shots in particular where I saw thoughts and emotions played that were deeper and more well-rounded than his stock plays (his stock plays being: bashful, strong-n-silent, voice of the working class, and bewildered).

    The cast is rounded out nicely by some of the better character actors of the day and the action moves along briskly. As others have noted, there are definite echoes of "It Happened One Night" and "Mr Deeds Goes to Town" as well as "Meet John Doe." All three films are better than this one, but "The Cowboy and the Lady" remains unexpectedly sweet and winning. A lovely bit of fluff!
  • Warning: Spoilers
    If you're a Gary Cooper fan, stick with his more familiar roles portraying Sergeant York, Lou Gehrig or Marshal Will Kane. Cooper seems a bit stiff here, but it was still a few years before those better known and appreciated films. I didn't really feel the chemistry between Stretch (Cooper) and sweetheart Mary (Merle Oberon), and having the relationship seem forced for the purpose of the story is never a good thing.

    But he was certainly better looking than Walter Brennan. Think about it, what was Katie (Patsy Kelly) thinking when she willingly traded Stretch for Sugar (Brennan) on the triple date? On balance, there was probably a better looking random trio of cowboys (figuring Fuzzy Knight included) at the rodeo the girls might have hooked up with, even with Coop in the mix.

    You know who the unsung hero of this affair was? How about Harry Davenport as Mary's Uncle Hannibal. That jitterbug routine early in the picture was a hoot, and he had a few more gems along the way serving counterpoint to Mary's presidential hopeful father (Henry Kolker). I would have liked to see more of him in the story.

    With 'Home on the Range' repeatedly surfacing in the background, "The Cowboy and the Lady" is a mildly entertaining rework of the rich girl/poor boy theme that fans of Cooper and Oberon will be interested in seeing. For the rest, be prepared for some slow filler moments when Mr. Stretch does his pantomime routine and utilizes the apron gimmick on Ma Hawkins (Emma Dunn) an annoying six times. To be fair, there is an instructive moment in which I was happy to learn that work horses are nice people.
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