Take a Letter, Darling (1942) User Reviews (12)

O tempora! O mores! O Paramount!

[snoopdavidniven · 8/10 · 5 February 2009]

The title of this comment is not reflective of this movie, a witty and expertly-handled farce; a shiny, energetic bit of bric-a-brac representing a memento of what we'll look back on one day as the high point of American popular entertainment (if not American civilization - once so down-to-earth, and disarmingly unpretentious). Rather, it refers to the sad reality of what the powers that be are allowing to befall the pre-1950 Paramount back catalog, as vital a part of American cultural history as any you'd care to name. Whether it's Sony, or Universal, or Vivendi into whose corporate clutches the rights have now fallen, I've frankly lost track of - it's one of them, though (and maybe all three).

Point blank: these films are not being cared for, let alone properly restored. You see it time and again with vintage Paramount films - if it's a famous title they're sure they can make money on (like DOUBLE INDEMNITY, say, or the ROAD comedies or Sturges classics) the print looks and sounds pristine; but these days - if it's one of the hundreds of less-well-remembered Paramounts - invariably the picture is bleached and indistinct, the sound deteriorated, and the entire experience of watching the film deeply compromised. There's no other word for it than "disgraceful" (particularly as it's been Sony/Universal/Vivendi who've been keeping these films OUT of circulation for decades now, resulting in their less-well-remembered status in the first place!) if for no other reason that it robs us, and future generations, of the joy of REdiscovery that's such a rewarding aspect of watching vintage Hollywood films; of seeing, and appreciating, aspects and nuances that its contemporary audience perhaps missed, or weren't even looking for, the first time around.

I'm possibly making a mountain out of a molehill here, and particularly in TAKE A LETTER's case, as the picture is soft but certainly still watchable, though the crispness and contrast of the original image isn't there. (The the cast-listing after the picture ends, however, is so washed out it's utterly illegible. You can barely make out a single name.) And compared to the unmitigated audio-video horror that is now SWING HIGH, SWING LOW (another Fred MacMurray Paramount comedy, screened by TCM a few weeks ago), TAKE A LETTER is flawless by comparison. But it bothers me no end that seemingly nothing is being done to restore, to save, these movies. Paramount wasn't PRC or Monogram, for God's sake: their roster of pre-1950 features are easily the equal of Warners, MGM....any of the other majors. How is it possible that a billion-dollar entertainment conglomerate, even though it's one unconnected to the making of these pictures, can show such casual contempt for film history? "Lost" films are one thing; this is more like watching them being abandoned. Maybe an old-fashioned write-in campaign is called for.

Enjoyable romantic comedy with the Mitch Leisen touch...

[Doylenf · 7/10 · 1 February 2009]

ROSALIND RUSSELL and FRED MacMURRAY have seldom had their flair for light comedy seen to better advantage than in TAKE A LETTER, DARLING in which the battle of the sexes involves Russell's career woman falling in love with her male secretary--really more of a personal assistant here and one she hires to make deals with clients and their wives.

MacMurray comes to resent the position he's placed in and there's some genuine wit and satisfactory situations resulting when Russell uses him to make her various deals. Predictably, she falls in love with him and it takes the whole story for the two to finally meet on common ground after a series of misunderstandings and plot complications involving MACDONALD CAREY and CONSTANCE MOORE as a brother and sister team who are both schemers who can match Russell any day.

It's all very brisk, very '40s style in the way the situations are resolved. ROBERT BENCHLEY has a more subdued role than usual in comic support.

But the chemistry between MacMurray and Russell is what keeps the whole thing bubbling along to a predictable enough conclusion.

MACDONALD CAREY has one of his better roles as "the other man" who has already had four wives and decides Russell should be his fifth.

Summing up: Amusing and well worth your time with a clever script by Claude Binyon.

Bearding

[bkoganbing · 7/10 · 1 February 2009]

It's too bad that director Mitchell Leisen wasn't working today and making Take A Letter Darling. If he did there would be a whole lot more explicit gender bending in this one.

Not that this film isn't good. In fact it's witty and bright and shows Rosalind Russell at her best. In her autobiography Russell describes this film as the first in her career woman roles. I'm supposing she isn't counting His Girl Friday, I guess Russell thought that Hildy Johnson had a job as a reporter as opposed to a career. After all she was trying all through the film to get away on her elopement and honeymoon with Ralph Bellamy.

But in Take A Letter Darling, Russell is a partner with Robert Benchley in an advertising agency. She can't keep a secretary and for good reason, she's got some specific night work requirements for a secretary and she demands the male gender as requirement number one.

In the gay world that Mitchell Leisen was part of, it's called hiring a beard. So many did it back in the day when the closet ruled. Many of the gay stars were always paired with public female dates lest there be any whispers about their sexuality. I'm sure it was the same in the business world.

Russell hires free spirited artist Fred MacMurray to squire her around and keep jealous wives at bay and to deter husbands from getting any ideas about some after office frolicking. In fact she sends MacMurray out to a favorite men's shop of hers where she gets him outfitted the same way Gloria Swanson took care of William Holden in Sunset Boulevard.

In real life Russell would have hired a gay man for her purposes, but since the mere mention of gay was out of the question, the heterosexist MacMurray is hired. They double team husband and wife George Reed and Margaret Hayes to land one account.

But an even bigger challenge presents itself with brother and sister tobacco heirs, Macdonald Carey and Constance Moore. Carey's been married four times already and Moore is a mint julep sucking southern belle who looks at MacMurray like a Virginia ham.

Take A Letter Darling holds up very well today although a knowledge of the mores of the times would certainly help younger viewers. This is definitely a film that could stand a remake, a more honest and explicit film about the practice of bearding.

First Half-Hour Sparkles

[dougdoepke · 23 May 2012]

The first half-hour sparkles. Tom (Mac Murray) is hired as a male secretary to what turns out to be a female (Russell) advertising executive. Worse, A.M. (that's her name) insists the tall good-looking secretary act as her beck-and-call escort. Remember, those were the days of strictly defined gender roles that were being transgressed by the arrangement. Hence, it's a setup with all sorts of entertaining complications. Meanwhile, Tom sees his masculinity slipping away, playing second-fiddle to a woman even if she is a generous paymaster. Those early scenes crackle with amusing by-play and are beautifully performed by two of Hollywood's best. I just wish the versatile Mac Murray had gotten the recognition his talent deserves.

However, once the focus shifts to complications with the Caldwells (Carey & Moore), the movie settles into more familiar and less sparkling terrain. Nonetheless, the results remain a fine example of studio craftsmanship from the '40's. Screenwriter Binyon, for example, was renowned for the wit and satirical abilities that show up here, while director Leisen certainly had the right touch for the frothy material. Note, for example, how many of his scenes don't end with a conventional cut-away from cast principals. Instead, Leisen ends the nightclub scene with two extras engaged in some card-playing business, or the scene that ends with a bellhop extra walking a dog up the hallway. These are colorful touches from a director who obviously cares.

Anyway, in my book, the movie's an imaginative little comedy from the studio that certainly knew how to do them, Paramount.

Russell and her male secretary

[blanche-2 · 7/10 · 5 February 2009]

1942's "Take a Letter, Darling" is a fun look at life in the '40s, and no one could play a career woman like Rosalind Russell. Tough, intelligent, sophisticated and glamorous, she fits easily into a man's world. In this film, directed by Mitchell Leisen, A.M. MacGregor (Russell) is the active partner in an advertising firm with Atwood (Robert Benchley), but she has both man and woman trouble. Men make passes and wives are jealous. To get around this, she hires a male secretary, Tom Verney (MacMurray) who in reality is an artist trying to save money to move to Mexico and paint. He takes notes, does research for her and, most importantly, poses as her fiancé at business dinners.

Verney is wary of the job from the beginning and plays along reluctantly. When A.M. learns the often-married Jonathan Caldwell (MacDonald Carey) is looking for a new advertising company for his tobacco company, she also learns he hates women. She maneuvers a meeting but learns that his sister (Constance Moore) has to approve the campaign. Enter Verney - but when the sister turns out to be young, beautiful, and invites Verney to the southern plantation - A.M. finds she's jealous.

Good movie, good fun, terrific cast, if somewhat predictable.

Take a Top Hat

[AAdaSC · 6/10 · 24 August 2015]

Advertizing Agency Partner Rosalind Russell (A M McGregor) hires painter Fred MacMurray (Tom) as her secretary in this male/female role reversal story that both Russell and MacMurray are very at ease with. MacMurray breezes his way through the film in a very aloof Boris Johnson kind of way, while Russell is excellent in her role.

MacMurray doesn't convince as an artist but it really doesn't matter. Russell is funny as a woman in control who knows that it's a man that she needs for happiness in life. It's not a revelation of a movie but it is easy-going and enjoyable.

Opera Hat or Top Hat? Don't be a flub!

Love,Russell,McMurray!

[kenandraf · 10/10 · 30 December 2001]

Very good love comedy film that will satisfy any fan of the genre who understands 1940's lifestyle.One of Rosalind Russell's best movies.McMurray was in his full glory prime here.Nothing spectacular here,just good old love comed fare done with some degree of pride.....

Delightful -- a 1942 movie, but it is very contemporary!

[hi_juli · 10/10 · 27 May 2001]

'Take a Letter, Darling' has both great actors (Fred MacMurray, Rosalind Russell) and a fun, timeless plot [this film could easily be applied to the here-and-now]. It relates a touchingly humorous story of love and jealousy and is a tribute to the romantic notion that true love never runs smooth. Elegantly done and a pleasure to watch.

Take a Letter Darling

[lore193-665-655437 · 10/10 · 18 May 2014]

Old, wonderful movies like these need to be restored and offered on Netflix and Amazon so they are able to be purchased. Roz Russell was a brilliant comedienne and her personality played beautifully against Fred Mac Murray's laid-back, sardonic presence.

This is a gem that needs some loving care. At least show it more on TCM. One of the earliest films to show male-female role reversal, i.e., male secretary vs female executive. It's such a great way to see how the upper middle class and upper, upper classes lived in the early forties. The night life scenes and the music are wonderful. A must see film for Russell fans.

Just passable

[sb-47-608737 · 5/10 · 29 April 2018]

First of all, out of the 5 stars, about 2 are to Ms Russel. Else it is probably 2 star or 3 star movie, all of which goes to smooth flow of the story.

Though I say story here, but that is a poorly executed one. None of the character-built up is mature, starting with the two main protagonists.

Both the lead actors are - well ready to jump in casting - or should I say business - coach, at least almost, at the drop of a penny, and the definition of morality is strange.

The hero is ready to walk out (on the heroine), when he considers her offer to be of becoming her Mister ( masculine of Mistress) , but is ready to be a Gigolo without much ado, and even does that part admirably (from her angle) ! He does need money, but that is for his hobby, to go to Mexico for painting, and he was walking off her even then on the mister offer. Heroine is of course ready to have a relationship with her clients, to get an order. It might not have been to physical stage, but probably because Hayes won't have accepted it. Otherwise I don't see how she could have deflected all the clients. There goes the two main protagonists. Then the role of the two beaus on the quadrangle, Mr and Miss Caldwell.

Multi millionaire, Caldwell (McDonald Carey), after four costly alimonies behind him, is ready to pay the fifth one to Ms Russel, after marrying her of course, despite being perfectly aware that she is madly in love with Tom (McMurray. Naturally for another, sooner or later (probably quite sooner) divorce and alimony. He gets her to accept his proposal, but on a cleverly manipulated (and stupidly behaved by his opposition, Tom) rebound, and after putting his man-eating sister (Constance Moore), loose on Tom ! It sometime reminds me of the World War propaganda movies of Hollywood, where the Nazis and SS were shown to be stupid beyond belief, and even some idiotic American (or British) hero would take care of a full battalion of them. Here of course the idiot wasn't Nazi/SS but the hero, Tom.

There would have been nothing to gain for either siblings, all to loose, in terms of the double alimony, sooner or later. And just to think of ! The two in love, staying in close proximity (on account of being married to the siblings) the ember simply can't be covered in ash, it would have flared quickly.

The sister looked to be more intelligent, she flirted, even almost proposed, but probably she understood and respected the play-condition, which her brother, already burnt several times, didn't. Even the ending seemed to be too hurriedly brought, and the way the director tried to sort out the equation, didn't look convincing.

Since this is a Russel movie, one could just manage to stand it.

An early gem of a gender-bender

[Cincy · 9/10 · 27 April 1999]

I've never seen MacMurrary of Russell give more nuanced performances than in this screwball comedy about a successful woman executive who hires a male secretary to appear conventional on social outings. What is completely surprising is the outcome isn't one that consigns either character to a rigid, gender-defined role. Sly wit and great performances throughout, albeit marred by unfortunate racial stereotypes of the time.

Witty and humorous script drives this very good comedy romance

[SimonJack · 8/10 · 15 September 2020]

"Take a Letter, Darling" is the very good comedy that Rosalind Russell and Fred MacMurray made. Two things keep it from being a top comedy. One is the heavy overtone of the unscrupulous doings of Russell's character. That tends to overpower the considerable humorous dialog of her role. The second is a lingering sense that the chemistry just doesn't click with Russell and MacMurray.

Russell played many more dramatic roles than comedy, and although she could do comedy well, it was sort of hit and miss. MacMurray, on the other hand, excelled in comedies - more than half of his 98 film and TV credits were for comedy. He played opposite most of the Hollywood actresses who did comedy.

In this film, Russell plays A. M. MacGregor, an ice-cold, hard as a rock, success-driven Wall Street executive in the advertising business. MacMurray is Tom Verney, a penniless painter who needs a job to be able to eat. Because he fits the mold of the handsome male she can use as a ruse for her purposes, MacGregor hires him. Even though he catches on quickly, and plays his role to the hilt, Verney finds this work distasteful. He's only doing it to get enough money to take off in a small house trailer for Mexico where he can paint to his heart's delight.

All audiences know what to expect in the end of movies like this. But, it's hard to believe these two falling for each other in the short time and with their relationship. While the story is nothing special and fairly simple, the screenplay is superb, with a script filled with witty lines and humor. And, the film has a very good, small supporting cast.

With the advertising business serving as the main plot for this film it will probably be of interest mostly to middle-aged and older adults. My eight stars are for an exceptionally clever script, with good production qualities and good performances.

Here are some favorite lines.

A. M. MacGregor, "Never fall in love with we, will you?" Tom Verney, "Don't worry. I couldn't fall in love with you if I wanted to." MacGregor, "Why not?" Verney, "Because you're a beautiful brain and beautiful clothes - no temperature, no pulse, that's all."

Mr. Horner, "And your hat? Miss MacGregor wouldn't stand for it. She definitely would not stand for it." Tom Verney, "It's my head. Get me a hat that folds flat."

Mr. Horner, "And, uh, how does the coat feel?" Tom Verney, "It's too tight." Horner, "Just where is the coat too tight?" Verney, "All over." Horner, "Maybe so, and maybe not." Verney, "I said the coat's too tight. Get me a larger one or I'll spank you."

A. M. MacGregor, "I'm sorry - I must have fainted." Jonathan Caldwell, "It's probably the altitude - we're on the fourth floor. Show her to the door, Moses."

Jonathan Caldwell, "If you'd care to faint again, would you mind doing it in the hall?"

Jonathan Caldwell, "It couldn't be, could it, that you think you'll need a little help with my sister?" A. M. MacGregor, "No. I'm sure that your sister and I will get along splendidly. It's just that Mr. Verney is one of the most brilliant minds in advertising, and we may as well have the benefit of his ideas." Caldwell, "Suit yourself - she may fall for him at that. How about 8?"

Jonathan Caldwell, "Well, from the looks of things up to now, you're going to get the contract and lose your man." A. M. MacGregor, "MY man? Huh! He's just a bit of hamburger I brought along for your wolf."

Proprietor (grocer), "I see you got yourself a new boy." A. M. MacGregor, "Uh huh." Proprietor, "Looks all right from here - but so did the last one." He laughs and then MacGregor laughs.

Tom Verney, "Deliberate instructions to make some hungry Southern fried chicken fall for me. A handful of ideas that aren't my own. Pretending to be Mr. Big just back from Washington. I met guys like that. They make me sick to my stomach."

Jonathan Caldwell, "Do you dance?" A. M. MacGregor, "Why, yes." Caldwell, "My four wives danced - let's not."

A. M. MacGregor, " I represent an advertising agency, not the league of homeless creampuffs."

Tom Verney, "Look, you wanted the contract. My instructions were to get it. And if it means sitting around on a plantation drinking mint juleps with a beautiful blond, I can take it."

A. M. MacGregor, "There's just one more thing I must say. Never in my life have I seen a man make a bigger fool of himself over a woman." Tom Verney, "Check!" MacGregor, "Prancing around the floor there like a great Dane chasing butterflies." Verney, "Check!" MacGregor, "You never even asked me for a single dance." Verney, "Check!"

A. M. MacGregor, "We'll see who's top man around here." G. B. Atwater, "Well, I know I'm not."

A. M. MacGregor, "I should beat my brains out in New York so you can convince her you're an encyclopedia with muscle."

A. M. MacGregor, "You? What ideas could you possibly have between juleps?" Tom Verney:, "Oh, I think now and then. I'm not completely primitive?"

A. M. MacGregor, "Do you think what you're doing with that Caldwell woman could be worth a hundred dollars to me?" Tom Verney, "Shhh! Not so loud. If Ethel finds out you're only paying me a hundred, she'll report you for cruelty to executives."

A. M. MacGregor, "What about the ideas I sent down?" Tom Verney, "Help me with the boots, will you? Straddle it. Pull!" (As he pushes her rump with his other foot.)

A. M. MacGregor, "Some of these sample layouts haven't even been opened." Tom Verney, " Well, I, uh, I showed her the first ones you sent down and she didn't like them, so I told her they were your ideas and we decided to ignore the rest."