Hilarity ensues when a falsely accused fugitive from justice hides at the house of his childhood friend, which she has recently rented to a high-principled law teacher.
What is the law? It's a gun pointed at somebody's head. All depends upon which end of the gun you stand, whether the law is just or not.
The Talk of the Town is directed by George Stevens and Stevens co-produces with Fred Guiol. It's adapted by Dale Van Every, Irwin Shaw and Sidney Buchman from a story by Sidney Harmon. It stars Cary Grant, Jean Arthur, Ronald Colman, Rex Ingram and Edgar Buchanan.
Leopold Dilg (Grant), a radical and political thinking man, is accused of burning down a mill and causing the death of a foreman in the subsequent fire. On trial for his life, he decides to escape from jail and makes his way to the home of his school day friend Nora Shelley (Arthur). However, his timing couldn't be worse, for Nora has taken in a tenant for the summer, a law professor, Michael Lightcap (Colman). Passing him off as the gardener, Nora has to hope that Lightcap doesn't cop on to Dilg being an escaped prisoner. But with both men feeling each other out, and both having designs on Nora, something is going to have to give.
Though nominated in seven Academy Award categories, "The Talk of the Town" won none. Perhaps more surprisingly is that of those seven nominations, none were for acting or direction. Surprising because the film is impeccably acted and smoothly directed. It was, however, rightly nominated for Best Picture (it lost out to William Wyler's "Mrs. Miniver") and was a big smash at the box office. The public quickly warmed to the blend of comedy with intelligent politico musings. The set up is safe, a potential love triangle - with the three leads playing off each other sublimely - is nicely played out whilst the two men partake in discussions about the law, the applications of such and its moral worth. The comedy that comes in fits and starts is not so much of the screwball variety, but more that of ebullience born out of beautifully written sequences. Some argue that the plot is heavily reliant on contrivances (how many 1940s comedies aren't?), but ultimately that is easily forgiven given the quality on show across the board. 8/10
