Mjeteconer Just perfect...

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

skimari I would say that remakes are never as good as the original. In this case, however, the musical adaptation of the "Awful Truth", I have not seen the original, so I watched this movie with fresh eyes, uninfluenced by any previous first impressions. And I found it funny and entertaining. It has that "back then" feeling, a sort of old fashioned charm, like the Doris Day/Rock Hudson comedies, which, let's face it, apart from the first hit, Pillow Talk, were all repetitive.There is obviously a question of miscasting the lady lead role, here. A really sexy female star in the role of Jane Wyman, would have been much more suitable and convincing. I like Jane Wyman a lot, but she is best at dramatic roles, as in Lost Weekend or in Douglas Sirk melodramas. She is so decent looking, with that innocent and shy face that it is not easy to imagine her as a sensational Broadway star. Yet she is beautiful, dances well and wears some glorious gowns. But, she is not sexy enough for this particular role.This is a musical adaptation so we have many songs, which are good and correspond to the type of Broadway musicals of the time. However, I strongly object to the dubbing of Ray Milland's songs. I think his own voice would have been much more interesting than that of a professional singer. After all, he was the COMPOSER, not the PERFORMER of the songs, so technical perfection was not an issue here.Ray Milland was not happy about this movie, or about remakes in general. He wrote in his autobiography: " I was once inveigled into a remake of The Awful Truth, which turned out to be a fizzle of the worst kind, for which I still haven't been paid, and rightly so." But he needed not be so over-critical and austere to himself. Because the movie is funny and he is really good at his role. He has many exceptionally fine scenes, as at the beginning, playing the drums, or wearing his wife's yellow robe, or the scene with the change of hats, as well as numerous other moments where he is funny and outstanding. To be noted that he does not play his role in a "Cary Grant" way, he is totally himself, as he himself would react in similar situations, always truthful and real, never over the top. That is what makes him so delightful in every role, be it in comedy, drama, adventure or thriller.I recommend this movie for guaranteed light entertainment, and for giving us an inside look at the world of Broadway stars.

gormand47-1 Based on the original, The Awful Truth, this update is so completely inferior, one has to wonder what the intent was behind remaking the comedy classic. It certainly couldn't have been to improve on it. How can you improve on perfection? And it certainly was not to present better music. Irene Dunne hit the high notes better than either Wyman or the person dubbing her voice. Plus, Wyman's just too squeaky clean looking to play the vamp. She cannot sell it! Milland is a good actor, but here cannot deliver the charm of Cary Grant.A disappointing waste of time. Do yourself a favor and get the original.

blanche-2 "Let's Do It Again" is a 1953 loose remake of "The Awful Truth," this time starring Jane Wyman, Ray Milland, Aldo Ray and Valerie Bettis. Milland plays Gary Stuart, a songwriter who occasionally takes off, saying he's going to Chicago or wherever, when all the while he's playing with nightclub bands in town. To make him jealous, knowing full well he's lying to her, his ex-performer wife Connie (Wyman) pretends she spent the night with a friend, Courtney Craig (Tom Helmore). Husband and wife have both carried their games too far and get a divorce, though they're still in love.The comments on this site are a bit surprising regarding Wyman. People seem to forget that before Johnny Belinda, Wyman was a stunning blonde who did plenty of comedy. I never understood the brown hair and the short do, but she played the role of Connie well and did her own singing. Despite comments to the contrary, I thought she looked quite beautiful. Her clothes were nothing short of sensational in this Technicolor production. Milland does a good job as Gary. Aldo Ray looks quite handsome and is okay as Connie's wealthy suitor. Valerie Bettis is on hand to do some sexy dancing. The music in this film is bad.It's no "Awful Truth," lacking in just about every department except maybe gowns. If you forget it's a remake of that classic, you should enjoy it for what it is - light fluff.

moonspinner55 Jane Wyman's recent passing has elicited a great flurry of comments about her strong work ethic, her humble modesty and her strict no-gossip code, all admirable qualities. But her acting legacy leaves little evidence that she was a versatile performer capable of conquering a variety of thematic realms (and her finest performance, in "Johnny Belinda", which won her an Oscar, suffered at the hands of a second-rate script). In this musicalized version of Arthur Richman's play "The Awful Truth", filmed as a straight comedy in 1937, Wyman wears a succession of shoulder-exposing, low-cut cocktail dresses and fur-lined evening wear, yet her wardrobe doesn't match her personality; Wyman's short, old-lady bob and her harried little face never give the impression she's having a good time. She gives the proverbial Jane Wyman Performance, that of a prudish woman forced by circumstance into skirting grown-up female issues. It seems her little-girl tricks of making songwriter-hubby Ray Milland jealous have turned him away, so Wyman, unconvincingly portraying a musical starlet, attempts to woo Milland back with more little-girl tricks. News of the couple's pending divorce brings other men Wyman's way, but naturally she's too uptight to do anything more than a little fancy dancing with them (but then that's understandable, once you get a load of graceless, nervous Aldo Ray on the dance floor). The picture is nothing more than a fashion show set to the type of fake-nightclub music you'd never hope to hear again, and the creaky dialogue probably shamed Arthur Richman (Wyman to her maid: "Is the champagne ready?" The maid: "Ready, willing and able!"). Sure, it's undemanding fluff not meant to be taken seriously, but in the context of Wyman's B-minus career, it is Exhibit A. * from ****