everything you have heard about this movie is true.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

I am only giving a 5 due to the performance of Irene. But yet again through the years the projection of America as all there is to this world is ridiculous. As if any Scot or Englishman would actually accept the words mentioned in the film. Disgusting. On the other hand its more of a romance novel than a war movie as war is like a sidewalk into this film. The story line overall is nice but it should be filmed in a difference scene than use the theme of war to input this romance story. presenting the power of actors and words in the art of cinema is one thing, but using it as political brainwashing a propaganda is another. As a scene from the film America is a circus just like the band marches when war is announced by them.

Women in war were just as important as the men off in combat, even if these women were at home. This is the story of one of those women, an American who has gained a noble title, and is utilizing it to give her all to the causes of protecting the home in England she has come to love.An American millionaire (Frank Morgan) has come to England with his daughter (Irene Dunne) for a holiday, and due to lousy weather (and boiled potatoes), pops is in a bad mood. But thanks to a British nobleman (C. Aubrey Smith), Dunne gets to go to a local ball, where she meets the man of her dreams (Alan Marshal) and agrees to marry him much to daddy's dismay. But can an American fit in with British society? After a shaky start, Dunne comes to love her new family, especially her kind-hearted mother-in-law (the very gracious Gladys Cooper) and the family retainer, nanny/nurse/companion Dame May Witty. Through World War I (during which she is widowed) through the onslaught of World War II, she perseveres, becoming as legendary a lady as those in the portraits which hang on her country home's corridor walls.Roddy McDowall plays the young son (who grows up to be Peter Lawford), paired with a freckle-faced youngster named Elizabeth Taylor for a youthful romance. Van Johnson appears in several scenes as an American attracted to Dunne, while scenes between Morgan and Smith offer a comical running gag concerning a priceless chessboard which was obtained in a very amusing way.Sweetly sentimental, this is a love story, not only of man and woman, but humanity and tradition, beautifully directed by Clarence Brown, one of MGM's greatest directors. It is poignant yet entertaining. In fact, fans of BBC's popular "Downton Abbey" will appreciate this as it covers similar territory with similar themes, particularly Gladys Cooper's more gentle version of Maggie Smith's family matriarch.

This movie telecast recently on TCM was one of many made to promote better relations between the ordinary people of Britain and the USA. Michael Korda claims in his book that his father, Sir Alexander Korda was sent to Hollywood by Churchill, before the USA entered the war, with a mission to persuade his movie mogul friends to make movies with pro British themes. By the time this movie was released,there was a large build up of US service personnel in the UK in preparation for invasion of Europe and resentment towards the GI's was not uncommon. For many of todays viewers it may seem to be a little over the top. Howerver it is a classic, if for the only reason, it was our first glimpse of the fabulous Liz Taylor.

Finally caught up with this one on a recent Turner Classic Movies broadcast and found it quite enthralling, despite its rather protracted length and of-its-era WWII wartime propagandizing. It's exceptionally smoothly directed by Clarence Brown and mounted in the very plushest M-G-M manner. It's impossible to imagine a story like this being as lavishly produced today. The cast is attractive and capable, with Irene Dunne (beautifully gowned and coiffed throughout) more than holding her own amidst a virtual platoon of marvelous British actors and actresses. The ubiquitous Frank Morgan manages to be minimally irritating; in fact he's quite credibly effective as Dunne's irascible American father. And even Herbert Stothart, whose scores often sound rather syrupy and intrusive to these ears, provides one of his best accompaniments to a story that spans decades and quite a gamut of emotions. Those whose attention spans haven't been stunted by the fragmented way we receive so much information and entertainment today should find this a rewarding example of how cinema audiences of several decades ago were respectfully treated by the Hollywood studio system at its professional best.