Eka Herlyanti The film is pretty funny. I really like the old man. I can't imagine living in that era where vacancies are so hard to find, and women flirt with a man without any shame, trying so hard to get his attention. That was 1943, and how about now? Are men getting fewer and fewer? Btw, I think Jean Arthur's voice is so similar to Alicia Silverstone in Clueless. So cute, sweet and funny.

vincentlynch-moonoi I guess I'm out of sync on this one. This film gets high marks from most sources, but not for me. Yet, despite being the genre of film I really enjoy, and despite having a cast I very much like, I don't care much for this film.Jean Arthur is one of my favorite comedic actresses from that era (although she could do drama, as well). Charles Coburn is one of my very favorite (usually) character actors (he stars here) from that era. And while I can't say that Joel McCrea is one of my favorites, I very much like him in his non-Western earlier roles. So, it's not the acting that I have a problem with here.Some younger viewers may not even understand the premise, but in war time Washington (WWII) there was a tremendous housing shortage. This film plays on that history, as the 3 principal characters ends up sharing one apartment. A funny premise. And, of course, Arthur and McCrea fall in love. And, of course, the matchmaker is sweet old Coburn.Funny premise...that seems to go on forever. It's predictable. It just drags.I'm not saying it's a bad movie. Perhaps a bit mundane. To each his own...but this one is not on my DVD shelf.

GeoPierpont I guess "Gone With the Wind" set the precedent for scare tactics to lure audiences using evil guttural utterances. Pish posh, in your dreams friends. This film was a dreg.I've had many male roommates and of course this led to many romantic opportunities but as a business arrangement, I NEVER went there, and at times this was eXtremely difficult, but rules are rules. And let me tell you these gents were not of the wooden unemotional daft Joel McCrea types.I had a hard enough time with "Walk Don't Run" but I soldiered through this first installment with grit. The "Schedule" routine was tedious but gave it some slack thinking the payoff would be forthcoming. Not the case here folks. This farce is dreadful at every turn. The split screen tactic in the bedroom may have it's foundation here but guess that's where the creativity ends.Perhaps if there were more sightseeing tours of DC in the 40's it could save the day? I guess I could recommend to round out your collection of Arthur, Coburn and McCrea. But not likely.... Big Sigh!

btm1 The war-time influx of people Into Washington, D.C., had created a major housing shortage by 1943. As a patriotic gesture Connie (Jean Arthur) advertises a spare room in her apartment. Benjamin Dingle (Charles Coburn), a dignified senior citizen with an appointment with a Senator, has arrived in Washington 2 days early for his hotel reservation. There are no vacancies anywhere. But he spots Connie's ad and boldly tricks the line of other people who answered the ad to leave. Then he talks Connie into subletting half the apartment to him even though she intended to only accept a lady tenant. He then rents half of his half to Joe Carter (the ruggedly handsome Joel McCrea) without telling Connie about it. That is the premise of this situation comedy.I watched this on TCM and think it may have been an abridged version. In one instance the scene switched from the main characters inside the apartment to everyone (not just the main characters but many extras who I suppose were meant to be other residents of the apartment building) enjoining the sun on the roof-top. Also, there possibly was some earlier scene introducing the relationship between Connie and her teenage friend, Morton. In the TCM version there is no set up for the scene where Connie advises Morton to join the Boy Scouts. Morton's character is odd because he talks in the manner of a New York street kid, whereas D.C. at the time was still very much a southern town. Still, the story was not difficult to follow. But in the nearly 70 years since this was an original concept, this kind of story has been copied and adapted into so many comedies that it now seems stale and predictable. Academy Award nominations and winners, particularly in the studio years, have often seem to be based on popularity or advertising, not strictly merit. Charles Coburn won the 16th Academy Awards Best Supporting Oscar for this film, beating (among others) Claude Raines in Casablanca. Inexplicable.