Many, did not like this film but I found it to be charming. The rapport between Cary Grant and Ginger Rogers is outstanding. In this year 2017, I find this film relevant. I never thought this before. Although, I don't know If I had seen the whole film before. It isn't shown very often. But I enjoyed it. I hope we are not taking the current circumstances for granted. Our freedoms are important! A gentle reminder within a charming love story.

This is a very silly movie that has one moment when Cary Grant is measuring Ginger Rogers' figure. It feels more like a metaphor of Grant making love to Rogers running his hands over her body. She doesn't age well, although there are some flattering shots of her. Her accent is a bit disconcerting in the film, but there's no question about it: she can act. The only trouble is, because she doesn't age well she's not easy on the eye. That's why she needs to be well-groomed in every shot because that's the only way you can bear the close-ups of her. Apart from this one provocative moment there is nothing for Cary Grant fans to relish in this film. I would say stay away from it, as it doesn't come anywhere near the quality of 'My Favourite Wife'.

This is one of the most unpleasantly bad movies I have ever seen, and I don't understand why. The director, Leo McCarey, made all sorts of wonderful movies. Ditto Cary Grant and Ginger Rogers, both fine actors. But everything is wrong with this movie, starting with the truly awful script. Yes, you could make a comedy about the Nazis during the war; remember the wonderful Jack Benny/Carol Lombard "To be or not to be." But this movie doesn't come close to that one. It doesn't take serious things that have to be taken seriously, even in a comedy. That leaves the main characters, especially Rogers, reacting in very bizarre ways to very serious situations. The only performance that makes sense to me in this picture is Walter Slezak's as the Nazi undercover agent. As for the rest, I don't understand what the script was trying to do, and I don't understand why McCarey was having his two lead actors act as he evidently made them do. This movie comes off as mindless and superficial, nothing like the great work I have see all three of its principals do elsewhere. I don't understand what this movie was trying to achieve in 1942, but it made me feel uncomfortable throughout.

One of the few successful directors of an anti-Nazi comedy, Mel Brooks, said, "We want to get people laughing; we don't want to offend anybody." In "Once Upon a Honeymoon," writer/director Leo McCarey manages to fail spectacularly at both rather obvious pieces of comedy wisdom.Casting another axiom to the winds ("Brevity is the soul of wit") the movie is two hours long and must have been made in a hurry to get it into theaters on Nov. 27, 1942, less than a year after the U.S. declared war on Germany. It is full-blown anti-Nazi propaganda (with cartoon Nazis, of course, this isn't "Conspiracy") but it is twisted into a screwball comedy (and it isn't "To Be or Not to Be" either). Screwball propaganda isn't a natural genre, to say the least, but it might have worked in 1942, when Americans were humming, "Hitler has only got one ball..." But I checked contemporary reviews and found that even the New York Times' critic, the moralistic Bosley Crowther, called the movie "callous." The plot is preposterous. Kathie O'Hara (Ginger Rogers) is a Brooklyn stripper posing as a European aristocrat. He accent is on par with Keanu Reeves' as Jonathan Harker in "Dracula." (I welcome nominees for worse accents.) O'Hara has gotten herself engaged to a plutocratic German Baron (Walter Slezak), who is also a high ranking Nazi, but that fact is something she refuses believe of her wealthy Schnuckiputzi. Enter Cary Grant, playing an American journalist on the Baron's trail. Grant is the only reason to watch this cinematic casualty of war, which starts in Vienna on the very day-- oh, but this deserves its own paragraph,Ginger and the Baron are at the Hotel Imperial in Vienna when-- to her surprise, but not his-- Adolf himself appears on that hotel's balcony to cheering Austrians: Happy Anschluss! So as I sat bolt upright at the possibility of glimpsing Hitler (will an actor actually play him...?), but McCarey attempts to tickle my alert ribs instead. Here's how: Grant calls out to Rogers in another room, "Hey, Hitler's here!" Her reply: "Well, I can't see him now, I'm dressing." Laughing yet? Long story short: the Baron is the engineer behind every nation that falls to the Third Reich. Playing geographical dominoes, he topples Czechoslovakia (in Prague we witness the assassination of Reinhard Heydrich), Poland (where Ginger and Cary are mistaken for Polish Jews and, in a darkly solemn scene unlike anything else in the movie, they're to be deported to a death camp while we hear mournful Jewish hymns sung in the distance), Norway (staying with the Quislings, naturally), Holland (crash!), Belgium (ka-boom!), and finally on to Paris where Ginger becomes an American spy. "Mata O'Hara," says Grant-- a comic highlight.Hilarity does not ensue, but patriotism does, up to and including Ginger reciting the entire Pledge of Allegiance.A screwball comedy peppered with genuine Nazi atrocities. And I thought I'd seen it all from Hollywood.