Although it has its amusing moments, in eneral the plot does not convince.

Clever and entertaining enough to recommend even to members of the 1%

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

For some reasons all three of the big screen versions of Sidney Howard's Pulitzer Prize winning play They Knew What They Wanted have been unavailable for years. Not seen on television and not out in any form, it certainly was lucky that someone put this out on YouTube. Also unusual in that the only Oscar recognition this film got was William Gargan's nomination for Best Supporting Actor as the Christian role in Sidney Howard's twist on the Cyrano DeBergerac story.Charles Laughton is a lusty Italian immigrant who's got the biggest ranch in the Napa Valley in California and he's the richest guy around. Laughton with his Italian accent gives a Mediterranean flavor to his own Oscar winning role that of Henry VIII. That scene at the feast where he shows off his strength and vitality reminded so much of the wrestling scene in The Private Life Of Henry VIII.But unlike a king who can just command a marriage to his royal person, Laughton for all his wealth and power is not the handsomest fellow around. So when he decides to marry waitress Carole Lombard, Laughton sends a picture of that handsome devil William Gargan who's known to be a devil with all the local women. Lombard is cast against type, she's usually an urban girl of some means. She sees no future just slinging hash and snappy dialog in her hash house job and she accepts the Laughton/Gargan proposal. She even agrees to go through with it after meeting Laughton. But afterward the story takes a different turn as Laughton is injured and in a long convalescence of his 'tibia and fibula' Lombard starts looking at Gargan and Gargan starts looking back.I won't go any further except to say that the ending here is not what Sidney Howard originally wrote. But the Code was in place and Howard having died the year before was in no position to complain. It ruins the film though, but the Code had to be served. Great performances by Laughton and Lombard are wasted. Gargan who usually played all kinds of police roles in and out of uniform was also good in a role that was against type for him as well.Still a chance to see legends Lombard and Laughton together is worth it. They were together in a bad film years earlier when both were under contract to Paramount called White Woman. They Knew What They Wanted is so much better.

I can only assume that before he started out in the role he asked the RKO excutives to run "Room Service" so that he could perfect his Chico Marx impression for this film.He wears a black curly wig not unsimilar to Marx,and apart from the fact that he does not play the piano he does everything else.So little wonder that this film had a very tortured production costing over $850000 and posting a loss of over $200000.It is difficult to understand why Laughton did these sort of films.He made some great films in the 1930s however he went to Hollywood more or less for good in 1939 and almost ruined his career in the 1940s withs some awful films.Lombard is fine but unbelievable as the waitress and Fay dreadful as the priest.

Charles Laughton, even more annoying than usual, full equipped with glued on beard and Italian accent, is a simple-minded farmer somewhere in napa.(wearing a pair of dungarees most of the time, which look like they might burst any second) having seen the waitress Carole Lombard only once, he's already very much in love with her and after writing some letters, proposes to her. being the coward that he is, he sends a photograph of his pal joe(equally unattractive William Gargan)to lure her to his farm in the desert. after a terrible accident(in which he falls off a roof while being completely wasted)Carol, his wife to be, finally gives in to her urges and has some fun with farmhand William Gargan.will their relationship survive this tragedy?? believe me after 96 min, (wich felt like 2 hours) you wont give a rats ass about those little lost souls in the middle of nowhere.and of course the upright local priest Frank Fay, who has such important lessons on life and love that you really wonder how one man alone can acquire such deep and meaningful knowledge is truly unforgettable.(pun intended)on the other hand, if you're into 400 pound guys imitating Italian farmers(badly) and pretending to be 3 years old(with baby talk and all)than this is the movie for you.i really wonder how Carole Lombard ever got into this nonsense. i got some (unintented) laughs out of this one, but overall its a real waste of time. if you wanna see gorgeous Carole Lombard in a good serious part watch Made for each Other.

Pretty darn grown-up for its day, this atmospheric adaptation of the Pulitzer Prize-winning play has waitress Lombard wooed by immigrant winegrower Laughton, becoming his mail-order bride, having an affair with ranch foreman Gargan, carrying his child, and being forgiven for it. (In this version, though, she has to go off and do some Breen Office penance first.) It's one of the very few dramas made under the Production Code where the unwed mother doesn't contract a fatal disease, die in a car crash, or plunge herself off a cliff. Lombard, an unparalleled comedienne, gets to show off her considerable and underrated acting chops, while Laughton does an unsubtle "paisano" caricature that might have been considered great acting in its day (this, after all, was the Paul Muni wig-and-accent era) but has dated badly. Lombard smolders in her scenes with the Oscar-nominated Gargan, their adultery cleverly conveyed by director Kanin through long soulful gazes, dark shadows, and moody music. Some other welcome faces turn up in tiny roles (Karl Malden, Tom Ewell, Nestor Paiva), and the only real irritant is Frank Fay's impossibly noble priest, lit from behind like a madonna and forever mouthing holier-than-thou "God is smiling on us" dialogue. You want to smack him one.Stage musical fans who want to see how Frank Loesser's great "The Most Happy Fella" plays without music will be pleased to observe how faithful he was to the source material, and the characters' emotions really do sing here. It's a fast and unpretentious little film, and another reminder (as if we needed it) of how badly we were robbed by Lombard's early death.