Glucedee
It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.
Lollivan
It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.
Josephina
Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.
JohnHowardReid
NOTES: Number 9 at Australian ticket windows for 1950; number 10 at the British box-office for 1949; number 2 at U.S./Canadian cinemas, its gross rental receipts of $4.1 million being exceeded only by the $5 million returned by Jolson Sings Again. Despite this popularity, the movie does not figure on any of the usual "Ten Best" lists from contemporary critics and commentators.COMMENT: Slow, dated romantic comedy. Most of the humor consists of (1) a risqué element that was doubtless considered very daring in a Hollywood film of 1949 but is now totally passé; (2) tilts at officialdom and red tape which even in 1949 had been pretty well done to death and now more than ever seem like flogging a dead horse; (3) elementary slapstick including such hoary old gags as climbing up a pole to read a sign labelled "Wet Paint". Each gag is introduced and developed at a funereal pace. The accent is heavily on talk and such humor as there is, is sometimes muffed by the inept direction of Howard Hawks. Comedy was NOT his forte! Still, thanks to the hard-working cast, some laughs do manage to survive. Although he makes no attempt at a French accent, Cary Grant makes a good contrast to Ann Sheridan. These two clashing personalities do manage to strike a few sparks. The rest of the cast is more than competent, though only a few of the players are known to us and their parts are small.Some of the wisecracks are fairly amusing and a bit of the slapstick (the stuntman going up on the level crossing gate, Grant mumbling to an empty chair as the process screen speeds by) is mildly diverting. But the film as a whole, despite its exceptionally lavish production values, including extensive location filming with the principals against actual German locales, could benefit by considerable trimming.Hawks' direction is occasionally imaginative (the gate rising behind the train, Grant coming into view in front of the lieutenant's window), occasionally inept (switching to another angle for the bike and sidecar gag was a mistake), but mostly dull.
wes-connors
In post-World War II Germany, French officer Cary Grant (as Henri Rochard) returns underwear belonging to attractive American soldier Ann Sheridan (as Catherine Gates). The implication Mr. Grant and Ms. Sheridan are having a sexual affair is false, although they flirt as Allied wartime partners. On their last mission, the couple continues to bicker and flirt, then decide to try kissing. This works out all right and they are married. Grant and Sheridan want to go to the US, but he isn't allowed. They discover a law – The War Bride Act – providing transport for US military spouses. Although Grant is not female, he decides to enter the country as predicted in the titular, "I Was a Male War Bride". The main attraction is seeing Grant decked out as a woman. This occurs only near the story's end and isn't even the funniest part of the film. The co-stars and director Howard Hawks keep you interested, but the story does eventually drag.****** I Was a Male War Bride (8/19/49) Howard Hawks ~ Cary Grant, Ann Sheridan, Marion Marshall, William Neff
Spikeopath
Captain Henri Rochard is assigned to work with Lieutenant Catherine Gates on a very serious mission. Tho initial problems between the two are rife, it's not long before the two of them fall in love and hastily arrange to get married. However a ream of bureaucratic red tape ensures the couple can not be together and with Catherine set to go back to America, there may be only one option, Henri will have to invoke a War Brides Clause in army regulations, with some rather zany results.I Was a Male War Bride is not even close to being a poor film, it has many moments of hilarity and contains a last twenty minutes to savour, it is however un-fulfilling as a comedy whole and sags on far too many occasions. How much of this is down to the chemistry of the leads and off camera illness problems is open for debate, for both Cary Grant {Rochard} and Ann Sheridan {Gates} both suffered ill health during the shoot, while director Howard Hawks himself was to succumb to being unwell at an inappropriate juncture. Tho Ava Gardner was originally wanted for the role of Gates {something i feel would have been excellent, if still wishing for a more comedic actress}, Hawks went for the more brisk acting of Sheridan, tho a fine actress, she seems wrong here, not quite coping with the comedy interplay with her leading man, almost missing the comedic beat as it were. Grant himself was said to have praised the picture quite often, but he does look weary and often appearing to be on auto pilot during the more laborious sequences.The film has many supporters, but i can't in my wildest dreams term this as a screwball comedy, perhaps i expect better from Grant and Hawks?, i mean after His Girl Friday, Bringing Up Baby and to a lesser extent, Monkey Business, my expectation for this one was always likely to be high, and of course viewing Sheridan as a great dramatic actress was meaning i viewed this one with suspicion from the off. I honestly feel the last twenty minutes saves the picture from being very average, the script perks up, and naturally a bit of gender confusion always raises a titter, tho the sight of Grant in drag looks more akin to Frankenstein's monster than the boys from Some Like It Hot!. It's more than worth a watch and it has guaranteed laughs dotted throughout, it just falls some way short of being a comedy classic in this viewers humble opinion. 6/10
DKosty123
This screwball comedy is not one of Howard Hawks best films but it is still very watchable. Grant is the focus of the film and carries it pretty much alone as much as his carrying hidden stuff in his suitcase.While Grant did a lot of Comedy films of this nature, this one is the one where he is the center of this film. There are others where Grant is good too but since he is the center of this movie, it is his personal best.The sexual tension presented in this film is very much the type of tension that existed in the late 1940's but has changed much since then. Still this film is very good and runs on TCM on occasion.
