Hellen I like the storyline of this show,it attract me so much

AniInterview Sorry, this movie sucks

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

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

lshelhamer This is a typical love triangle movie with Myrna Loy, Rosalind Russell and Walter Pidgeon, with Franchot Tone at the odd man out. It's hard to know which is worse, the acting, the plot or the dialog. The outcome is fairly predictable, given the time period when this movie was made. As far as the acting goes, Ms. Loy is thoroughly unlikeable, Mr. Pidgeon stiff and Mr. Tone an insipid hanger-on. Ms. Russell comes off the best of the lot, thought her final scene when she is magnanimously prepared to give up her husband is unconvincing and without the necessary character motivation. Motivation is also lacking in the apparent coupling of Myrna Loy and Franchot Tone, when the prior attraction seemed to be all one-sided. The best acting by far is by the little known Nana Bryant, who plays Loy's mother.

Evangeline Kelly I got chewed out for asking this over on the Classic Movie Board, but why oh why did Myrna take this dreck? Unlike her other MGM women peers, Myrna went straight from "Oriential" villaness to vamp to good-time girl to wife and mother. In the process, she rarely got the chance to do the witty, champagne romantic comedies given to Joan Crawford or Norma Shearer at MGM, or even Irene Dunne, Claudette Colbert and Jean Arthur at other studios. Her few stabs at it were, regrettably, very, very lackluster, as it seems the studio just didn't know what to do with Myrna if she wasn't portraying William Powell's sly wife or Clark Gable's ultra-feminine love interest (on that note, I recently watched Myrna in the pre-code "Penthouse" and she was an absolute DOLL. Her character was a call-girl, but Myrna was so witty and breezy and sexy; wish she could have kept some of that).Man-Proof is one of those lackluster films given to Myrna when she wasn't paired with Clark or William or Robert Montgomery. Here she plays Mimi, who is in love with Alan (a stodgy Walter Pidgeon), and is the sparring partner of Jimmy (Franchot Tone). Alan breaks Mimi's heart by eloping with the wealthy Elizabeth (Rosalind Russell in her annoying "lady Mary" voice)--who in turn bizarrely invites Mimi to be her bridesmaid. Elizabeth wears this horrible wedding gown that looks like some sort of Medieval wimple and gown--and is completely serious! The film begins innocently enough, but it peaks during Myrna's wonderful drunk scene at the reception, where she'd struggled to hold it together as everyone gossiped about her being jilted.After this scene, it seems as though the writer(s) just threw at the plot. One of the culprits is probably the Production Code, since adultery was not to be condoned, so the scandal of Alan and Mimi's meetings is muted and getting around the subject was even more awkward than Joan Crawford and Robert Montgomery's escapades in "Forsaking All Others." Jimmy spends the majority of the film drunk and dully witty, which is supposed to hide his true feelings, but comes across as obnoxious in scene after scene of his drunk nonchalance. However, the main culprit is the complete and utter lack of character motivation. Mimi we get, Jimmy somewhat, but Alan and Elizabeth not at all. As I watched the film I kept asking: why did Elizabeth invite Mimi to be her bridesmaid? Why did she condone Alan running around town with Mimi? What did Alan want from Mimi after his marriage? Who were they? And after Alan returns to the oh-so understanding Elizabeth, I still didn't understand the characters.Needless to say, the only charm to this film is Myrna Loy. The script isn't at all good, and the direction was faulty, but Myrna and Franchot tried. Track this down only if you have a hankering to view Myrna's filmography.

MartinHafer Even though MGM had a huge cast of stars and tremendous budgets, sometimes even this film giant had a flop during its glory days and one such flop clearly is MAN-PROOF. Now you can't blame the stars, as this film featured the great talents of Myrna Loy, Walter Pidgeon, Franchot Tone and Rosalind Russell. No, instead the blame rests with the producer for casting these actors in this turkey and for the writers for producing a third-rate script. How no one realized this before hand is beyond me.The biggest problem with the script is that it's hard to like or care about anyone. While this is practically an insurmountable problem in most films, it's made even worse because the selfish and nasty plot just doesn't work with Myrna Loy in particular, as she made a career out of playing nice people. To make matters worse, she was the most selfish and unlikable person in the entire film.Here's the plot: Although Myrna and Walter are dating and people expect them to marry, at the last minute he instead marries Rosalind. He apparently does this because Roz is rich and Myrna isn't! Well, Rosalind is no picnic, either, as she knows she's taking Myrna's fellow and to add insult to injury, she asks Myrna to be a bridesmaid!! So, following the wedding, Myrna makes it her personal mission to destroy the marriage and take Walter back--proving she's nasty AND stupid for wanting this rat after he dumped her! Franchot is the nicest and most likable of them--spending most of the movie drunk! What a motley group of jerks--not a single one who you can respect or like! Plus, the film just seems mean-spirited and hard to believe or stomach!! The bottom line is that this might just be the worst film any of these four appeared in during their long careers. Not well made, enjoyable or interesting in the least. Even Monogram Studios might have been ashamed to put their name on this production!

marcslope It starts out as a bubbly comedy and quickly sinks into "women's picture" banality, with Loy inexplicably pining over stolid Walter P., who is marrying Rosalind Russell (her la-di-dah accent is intolerable), while Franchot Tone is making drunken quips on the sidelines. The tone is all over the place, now breezy, now soap-opera, and poor Myrna Loy looks miserable throughout -- she must have known how negligible this script is. The characters' alliances shift scene by scene, without explanation, and the happy-ending fadeout wouldn't convince a five-year-old. The four leads are pros and almost always interesting to watch, but this one is so MGM-fake and dramatically underpowered that it plays like a prehistoric episode of "One Life to Live."