ActuallyGlimmer The best films of this genre always show a path and provide a takeaway for being a better person.

pointyfilippa The movie runs out of plot and jokes well before the end of a two-hour running time, long for a light comedy.

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

Yash Wade Close shines in drama with strong language, adult themes.

audiemurph Like fingernails scratching down a blackboard, Betsy Drake's annoying voice dominates this dreary offering from RKO. While nominally a Cary Grant film, Grant transparently takes second place behind the true star of the film, Betsy Drake. And what a painfully miserable choice she was. She is unable to open her mouth without engaging in a sanctimonious lecture about marriage and her plans to trap Grant, and barely two minutes ever go by in the film without her doing so. She is as unappealing an actress as has ever been my misfortune to waste time watching. Her endless speeches are unbearable, and I, who am able to suspend disbelief at the most outrageous plots, will go to my grave not accepting for a second that Cary Grant could ever have an interest at all in the most self-righteous and unattractive Betsy Drake.If only Grant had been given more to do in this film.But if you do choose to watch "Every Girl Should Be Married", there are a few interesting moments worth looking out for. The best comes when Cary Grant, going off on one of his diatribes against marriage in general and Betsy Drake in particular, actually does a very funny impersonation of Drake, complete with high pitched voice and female mannerisms. A quite enjoyable moment in what otherwise must have been a most boring assignment for Grant.One other interesting moment occurs when Grant is sitting beside Drake in her home, and the telephone rings for a second time. The receiver is apparently placed backwards on the telephone base, so that when Drake reaches for it, she ends up picking up the receiver sort of inside-out, and it is rather awkward; however, her improvisation goes smoothly enough, and was obviously kept in the film.Now you all remember the great telephone scene in "It's a Wonderful Life"; Jimmy Stewart and Donna Reed are sharing the receiver as they speak to their old friend Sam. Because they have yet to openly declare their love for each other, the tension inherent in their being in such close proximity to each other is spectacular. Well, here in "Every Girl Should Be Married", there is a similar moment in the same scene as described above; as Drake and Grant are sitting next to each other, they pass the telephone receiver back and forth as it rings, and casually brush and touch each other's arms as they share a look at a baby magazine; here was some potential for some interesting tension. Unfortunately, like the entire rest of the movie, the potential is not even remotely realized. Just another small failure, though this is just a cog on a giant wheel of failure.Even the endless appearance of the great old song "Sailing" (recorded most memorably by Bobby Darin) becomes grating after a while.On the other hand, quite pleasing is the surprising un-credited appearance of genial Eddie Albert in the long closing scene. A great job by Albert, but sadly too little too late.Is this film awful? Maybe not awful, but at best, unbearable.

Spikeopath Every Girl Should Be Married is directed by Don Hartman who also co-writes with Stephen Morehouse Avery and Eleanor Harris. It stars Cary Grant, Betsy Drake, Franchot Tone and Diana Lynn. Music is by Leigh Harline and photography by George E. Diskant.Betsy Drake (in her screen debut) plays Anabel Sims, a department-store clerk who goes after paediatrician Dr. Madison W. Brown (Grant), determined to snag him as her husband.Women have found it necessary to use subterfuge and their own feminine devices for centuries.Fun, frothy and a little daring, Every Girl Should Be Married is of its time but none the worse for it. It's a different spin on the battle of the sexes format with Betsy Drake's determined femme proving to be the aggressor in the pursuit of happiness. There would have been some feminists cringing at the notion of one of their number seemingly courting marriage as a reason for being, but digging further into the character reveals a strong lady who knows what she wants and sets about getting it. As the character stands up and says during a marvellous sequence at a lecture given by Grant's eminent doctor, who wrote the rule that only men can ask a girl out? To be the one doing the pursuing? It's relevant stuff and via its comedy zeal puts the sexes on an even playing field. And you know what? As a red blooded male I found this in itself to be very sexy! Drake only had a short career, she would marry Grant soon after this film had been a hit at the Christmas 1948 box office. It's a shame we never got more from her because she owns this film. Managing to shift easily from girlish charm to strong willed woman when the narrative demands, she offers up a counterpoint to the foggy memory of the "Suzy Homemakers" so rife in 50s and 60s American romantic comedies . Drake brings originality to the role, while simultaneously providing great comedy opposite the ever coy Grant. She also has a smile that could melt the coldest of hearts. Grant, Tone and Lynn are playing second fiddle, but that's not to the film's detriment, and with Hartman unfussy in his direction it rounds the film out as a winner. It does pick some ideas from the pockets of previous screw balls, but with its centre fresh and interesting it would be churlish to criticise some outer edge formula steals. 7.5/10

dougdoepke One-note comedy that probably sets modern day feminists' teeth on edge. Department store clerk Betsy Drake is in love with the idea of babies and marriage, pinning her hopes on women's magazines until she spies super-bait in the form of sleek bachelor Cary Grant. The rest of the film plods from one ploy to the next as the relentless Drake pursues her quarry. I guess the word "perky" just about sum's up Drake's approach to the role. She does have a charming smile, but after 20 minutes of memorizing her dentures, I began to overdose. Grant's role is basically secondary and minus his usual flair. There is one scene, however, that almost salvages this slender exercise. Drake queries the hapless Grant following his lecture to a roomful of respectable ladies. Here her perky manner has an unforced freshness that is really quite remarkable, and had the production not rubbed our noses in that upbeat grin for 90 minutes, the film might have amounted to more than a girls' camp day-dream, circa 1948.

tedg What a wonderfully flexible this thing is, cinema. Within it, one can structure all sorts of things that can reach us.Probably the two that are the most profound are how movies define fate and sometimes in the same breath, love.This is one that deals with both. And the love part has nothing to do with relationships but with the simple charm of a type of woman. This was a big success when new, but today isn't even worth putting on DVD.Odd, because for what it is, it is perfect. The goal is to parade an enticing woman, a real natural charmer.The girl in this case is Betsy Drake, playing against Cary Grant who does his usual thing. She is something between an Audrey Hepburn and Debbie Reynolds, both of whom did this sort of movie frequently. Her chin is narrow which gives the effect of an overly large and expressive mouth, used very theatrically. She also has a slight lisp. Combined with her exuberant manner and honest presentation, she is absolutely captivating. And so Grant thought as well because he moved in with her during this and married her shortly thereafter.How odd it is that someone could peak so in one film (this her first) and fade so quickly from importance.Ted's Evaluation -- 3 of 3: Worth watching.