Fantastic film but so drastically unbelievable in parts. I really enjoyed the relationship between Letty and her son even if she wasn't that great a mother. The son, at the moment I've forgotten his name, was excellent. He really brought a lot to the role, but I just kept thinking he has to be older than 7. The relationship between Letty and Cary Grant's character I didn't get at all. How could they love each other as deep as all that in a less than 8 days? Really? There was no build up to it, perhaps because the movie is so short. Letty should be nothing more than a pretty misguided young woman to Mal or what have you. The relationship between Mal and his wife was a complete joke, but not a single moment of it was funny. How on earth could she know that her husband would have sex with another woman right down the hall from her own bed and just look sad and pitiful and say she loves him with all her heart and he has done no wrong to her? Obviously she cannot have children, so she believes that since Letty could give him a son and she can't that what he did was OK. First of all, that is STUPID! Second of all, Letty did not really give him a son. She had no custody of him but the judge said that if she would agree, he would release the boy to Mal as his legal father. Sure, she agreed, but the alternative was to leave him in a home, and anyway, she tried to kidnap him back. They shouldn't have written the wife as such a sap.

Cary Grant was 30 years old and Loretta Young was 21, and neither had quite fixed their personae. Grant doesn't seem able to relax. The guy was an acrobat earlier in life but here he seems wooden. Loretta Young, on the other hand, slings that slender chassis around with abandon and looks dewy, moist, gorgeous. When she smiles, from some angles, she resembles Blythe Danner.But, man, she is a greedy and unprincipled shark. Her young son is hit by a truck. Damage is minimal but a "specialist" is brought in to tell the very wealthy Grant, who owns the truck company, that the kid may never again walk or play the violin with his feet. (Sob.) It's all set up to milk cash out of Grant and his dairy and Grant agrees to any settlement. As the "specialist" is leaving the room, he takes Young aside and mutters that she "can settle with me later -- outside." This was before the Hayes Office Of Morality and Rectitude dropped the porticullis and eliminated such salacious filth.Man, is that little kid a nuisance. He's obviously older than seven and his ears are those of an African elephant. I swear I saw them flap in a slight breeze. His voice is an irritating whine. Cary Grant and his loving wife adopt him to raise him properly. I'd have stomped him like an insect.It's diverting and it's short. It's an historical curiosity too, and Loretta Young is a delight. Not just for the eyes. She plays a rather low-down creature who smokes, chews gum, and drops her "g"s, so that "nothing" becomes "nuthin."

I want to comment on that the romance was there...I just want ed to say that I thought the ending would be better, but she just leaves.. I think eventually in the future if this was a true story that she would stay with him... Like if they made a sequel to this that she would come back and be with him in the end with Mickey...With saying that.. I pretty much liked the rest of the movie.. I think that Cary Grant is very gorgeous in his younger years in this movie.. and Loretta Young is just as beautiful as she is in The Bishops wife (Which Cary Grant plays her guardian angel also in which he falls in love with her)... The movie is a lesson to stay strong and tough....and lie... to get out of unbeatable predicaments.

This flawed second feature -- about a beautiful floozy, her streetwise little boy, and the millionaire who comes to their aid -- sustains interest only thanks to the attractive stars. Young, with her huge eyes and dazzling smile, has the aura of Joan Crawford in her "Dance, Fools, Dance" period, while Grant, who was 30 when this was made, has not yet fully matured into the character we know from the second half of the 1930s. The story, despite its implausibility, is not unappealing; it is pleasant to imagine oneself being a slum-kid one day and being invited to live with Cary Grant and his affectionate wife the next. The screenplay is oddly structured; the story begins with Young being admired by an odd trio that looks as if it wandered off from the set of "Dinner At Eight" and whom we never see again, and the picture ends just as abruptly. Still, not a bad way to spend 65 minutes.