Guest Wife (1945)

90 mins | Comedy | 27 July 1945

Director:

Sam Wood

Cinematographer:

Joseph Valentine

Editor:

Wm. M. Morgan

Production Designer:

Lionel Banks

Production Company:

Greentree Productions, Inc.
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HISTORY

The working title of this film was What Every Woman Wants . This was the first film to star actress Claudette Colbert after the completion of her contract with Paramount. She and her co-star, Don Ameche, had previously appeared together in the 1939 Paramount film Midnight (see AFI Catalog of Feature Films, 1931-40 ; F3.2853). According to NYT , producers Jack Skirball and Bruce Manning made Guest Wife under a profit-sharing agreement with Colbert and Ameche. HR news items state that Guest Wife was made on a budget of $1,750,000. HR news items also report that portions of the film were shot on location in the High Sierras near Bishop, CA. Second unit photography was completed in Acapulco, Mexico. According to HR , Henry F. Ladon was cast in Guest Wife , but his appearance in the released film was not been confirmed. Daniele Amfitheatrof received an Academy Award nomination for his musical score for this film, but lost to Miklos Rozsa's work on Spellbound (See Entry). Don Ameche and Richard Foran reprised their Guest Wife roles with Olivia De Havilland on a 10 Dec 1945 Lux Radio Theatre ... More Less

The working title of this film was What Every Woman Wants . This was the first film to star actress Claudette Colbert after the completion of her contract with Paramount. She and her co-star, Don Ameche, had previously appeared together in the 1939 Paramount film Midnight (see AFI Catalog of Feature Films, 1931-40 ; F3.2853). According to NYT , producers Jack Skirball and Bruce Manning made Guest Wife under a profit-sharing agreement with Colbert and Ameche. HR news items state that Guest Wife was made on a budget of $1,750,000. HR news items also report that portions of the film were shot on location in the High Sierras near Bishop, CA. Second unit photography was completed in Acapulco, Mexico. According to HR , Henry F. Ladon was cast in Guest Wife , but his appearance in the released film was not been confirmed. Daniele Amfitheatrof received an Academy Award nomination for his musical score for this film, but lost to Miklos Rozsa's work on Spellbound (See Entry). Don Ameche and Richard Foran reprised their Guest Wife roles with Olivia De Havilland on a 10 Dec 1945 Lux Radio Theatre broadcast. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
4 Aug 1945.
---
Daily Variety
20 Jul 45
p. 3, 7
Film Daily
25 Jul 45
p. 7.
Hollywood Reporter
9 Oct 44
p. 3.
Hollywood Reporter
26 Oct 44
p. 4.
Hollywood Reporter
9 Nov 44
p. 13.
Hollywood Reporter
17 Nov 44
p. 1.
Hollywood Reporter
24 Nov 44
p. 4.
Hollywood Reporter
4 Dec 44
p. 9.
Hollywood Reporter
27 Dec 44
p. 15.
Hollywood Reporter
20 Jul 45
p. 3.
Motion Picture Herald Product Digest
6 Jan 45
p. 2259.
Motion Picture Herald Product Digest
28 Jul 45
p. 2565.
New York Times
18 Oct 45
p. 21.
New York Times
17 Mar 1946.
---
Variety
25 Jul 45
p. 20.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir
Asst dir
WRITERS
Orig scr, Orig scr
Orig scr, Orig scr
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
Prod des
FILM EDITOR
Film ed
SET DECORATOR
Int dec
SOUND
Re-rec and eff mixer
Re-rec and eff mixer
Re-rec and eff mixer
PRODUCTION MISC
Prod mgr
Unit mgr
DETAILS
Alternate Title:
What Every Woman Wants
Release Date:
27 July 1945
Production Date:
27 November 1944--late January 1945
Copyright Claimant:
Greentree Productions, Inc.
Copyright Date:
27 July 1945
Copyright Number:
LP13446
Physical Properties:
Sound
Western Electric Recording
Black and White
Duration(in mins):
90
Length(in feet):
7,830
Country:
United States
PCA No:
10792
Passed by NBR:
Yes
SYNOPSIS

Christopher Price, a banker, and his wife Mary prepare to leave the small town of Keetoosen, Ohio, to go on a second honeymoon in New York City. Before they can leave, however, Chris receives a telegram from his old childhood friend, noted foreign correspondent Joe Parker, telling them that he is in transit to their home. Upon his arrival, Joe tells Chris and Mary that he has been ordered back to New York by his boss, A. T. Worth, who thinks that Joe is married to Mary, because Joe once lied to him that he had gotten married in order to take a vacation. Chris agrees to help Joe continue the deception, over Mary's objections. When they discover that the train to New York is full, Chris stays behind in Keetoosen while Joe and Mary head off. Arriving in New York, Joe and Mary are whisked off the train and taken directly to the publisher's office, where Worth has arranged a press conference with photographers and newsreel cameras. Later, Worth tells Mary how touched he has been by her letters, especially one in which she describes being nursed back to health by her "loving" husband. Meanwhile, back in Keetoosen, Chris is pulled off the New York train by Arnold, his boss, who accuses him of living with another man's wife, having seen Joe and Mary's photograph on the front page of a Cleveland newspaper. Chris is then forced to stay in Keetoosen to avert a bank scandal, much to Mary's chagrin. Later, Mary is recognized at a nightclub by a shoe salesman from Keetoosen, and she and Joe try unsuccessfully ... +


Christopher Price, a banker, and his wife Mary prepare to leave the small town of Keetoosen, Ohio, to go on a second honeymoon in New York City. Before they can leave, however, Chris receives a telegram from his old childhood friend, noted foreign correspondent Joe Parker, telling them that he is in transit to their home. Upon his arrival, Joe tells Chris and Mary that he has been ordered back to New York by his boss, A. T. Worth, who thinks that Joe is married to Mary, because Joe once lied to him that he had gotten married in order to take a vacation. Chris agrees to help Joe continue the deception, over Mary's objections. When they discover that the train to New York is full, Chris stays behind in Keetoosen while Joe and Mary head off. Arriving in New York, Joe and Mary are whisked off the train and taken directly to the publisher's office, where Worth has arranged a press conference with photographers and newsreel cameras. Later, Worth tells Mary how touched he has been by her letters, especially one in which she describes being nursed back to health by her "loving" husband. Meanwhile, back in Keetoosen, Chris is pulled off the New York train by Arnold, his boss, who accuses him of living with another man's wife, having seen Joe and Mary's photograph on the front page of a Cleveland newspaper. Chris is then forced to stay in Keetoosen to avert a bank scandal, much to Mary's chagrin. Later, Mary is recognized at a nightclub by a shoe salesman from Keetoosen, and she and Joe try unsuccessfully to convince him that she is "Mrs. Parker's" Turkish double. Chris finally arrives in New York the next evening, and his attentiveness toward "Mrs. Parker" soon attracts the attention of both the hotel detective and Worth. Upset at being continually separated from Chris, Mary lies to Susy, Joe's old girl friend, that she is in love with the reporter. Mary then accepts Worth's invitation to stay at his Long Island estate, despite Joe's objections. Later, Chris sneaks onto Worth's estate, where Joe has been convinced by Mary that she is in love with him. When Joe rejects her advances, Mary pretends to contemplate suicide. Seeing Joe and Mary out on the balcony in their pajamas, Chris becomes jealous, kicks open their bedroom door, punches Joe and leave Worth's estate with Mary in tow. Finally recognizing Mary's hoax, Joe pretends to be the noble husband who has let his wife go for her own happiness and accepts Worth's comforting. In turn, Mary informs Chris how happy she is that he has finally "carried the ball," placing himself before his friend, Joe. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.