SteinMo What a freaking movie. So many twists and turns. Absolutely intense from start to finish.

Motompa Go in cold, and you're likely to emerge with your blood boiling. This has to be seen to be believed.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

mark.waltz Thinking that her husband William Powell is cheating on her thanks to the interference of her Wagnerian mother (Florence Bates). Suspicious over a situation involving his old flame (Gail Patrick), Loy uses that to file for divorce. Trying to avoid interference in a reconciliation with Loy by the deliciously meddlesome Bates, Powell pretends to be insane to prevent the divorce from going through and then disguises himself as his own sister, adding plenty of comical mishaps, most of them involving the continuously cheery Bates who wants anything but a happy ending for her daughter and son- in-law.Reminding me of a less obnoxious version of Ethel Merman in "It's a Mad, Mad, Mad, Mad World", Bates could be the poster dowager for passive/aggressive monster-in-law. It's also nice to see Patrick in a light-hearted role, even if she is still playing the femme fatale. In drag, Powell looks like a modern day "Whistler's Mother", like one of the many little old ladies who got some gravity in their girdle in the "Our Gang" shorts. Jack Carson is added into the mix as the fourth party in this marital mix-up, and Toto is so cute once again as Patrick's pooch who takes a liking to Powell's puss when it's trapped in the middle of an elevator door.There's plenty of farce to keep this moving, most memorably Powell's plight in the elevator, a throw rug that knocks both Powell and Bates on their tuchus, Powell's public display of insanity (which ends up with a delicious revenge against Bates) and the wisecracks from Powell's drag alter towards the harridan mother. While the majority of Powell and Loy's co-starring vehicles focused on the verbal funny, this focuses on the visual and makes it a delight for those who need a little farce to go with their wise-cracks. This would be the last co-starring appearance of Powell and Loy outside of the "Thin Man" films and a cameo by Loy in "The Senator Was Indiscreet".

evanston_dad I, along with about a billion other people, absolutely adore the screen duo of William Powell and Myrna Loy. But "Love Crazy" is evidence that, though the chemistry the two had together is off the charts crazy, simply sticking them up on the same screen isn't enough to guarantee a sure thing. They needed good material and good directing, both areas in which "Love Crazy" is lacking. Howard Hawks would have directed this film as a tight screwball comedy and it would have scored. Jack Conway provides flabby direction, full of dead air, and the film sort of rambles along past the point where its joke has worn thin. Loy and especially Powell do what they can -- he at one point even dresses up in drag -- but while this movie isn't a misfire, it doesn't showcase the qualities that made Powell and Loy such an unstoppable force of nature.Grade: B-

atlasmb In the aptly named "Love Crazy", Myrna Loy and William Powell again prove that they make a marvelous screen pairing. And someone did a good job of selecting projects for them.The story starts with Powell and Loy almost giddily happy about their fourth anniversary. Then Susan's (Loy's) mother arrives and things go downhill. She's a clueless meddler who doesn't really like her son-in-law Stephen (Powell). Circumstances conspire to thrust an old flame into Stephen's path and his mother-in-law is there to witness just enough to inject doubt into the happy couple's relationship.It's a winding story, but eventually Stephen tries to convince everyone that he is insane in order to save his marriage. Things spiral out of control as each misunderstanding compounds.Powell proves a master of physical comedy in this film and he turns in an impressive performance dressed as a woman. The writing delivers some terrific one-liners. Although this film deserves to be considered one of the best Powell-Loy matchups, for me the level drops off slightly after Susan starts to seriously doubt Stephen.And it may be just me, but the portrayals of the legal profession and the psychiatry profession took me slightly out of the story. The legal doctrine used in the film seemed fabricated in parts. And the haphazard use of psychiatric jargon was jarring. It is possible, I suppose, that a psychiatrist in 1940 might have used phrenology as an aid in diagnosis, but no doctor would actually confuse schizophrenia with insanity. But these are not serious impediments to enjoying this film. I will deduct one point in my grading.This film has much to recommend it. The Powell-Loy chemistry shines in the best parts and the twisting plot keeps things interesting.

tedg This should be seen by any aspiring director.Its a disaster. Yet it has a good enough set of screwball situations, and one of the best light comedy teams ever. What's missing? A pulse. Its something beyond merely lacking in comic timing. Creating a screwball world means the light has to crackle. Things have to move in an unreal, hyperreal way, veering both in jerks and in unexpected directions. To do that you have to have a rhythm to syncopate, to play against. And that means you have to have a director who feels the music of the story. So the lesson for directors here is in what not to do. This has the pace of a silent film drama. It has room to breath and us to settle into. That's wrong; our mind should be stabbing this instead of stroking it.Its a poor state when I have to recommend that a film is bad in an educational way, but that's the case here.Oh, the story has a mild fold in the vein of "Vertigo." A man wishes to make a story within the story and gets captured by it.Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.