Tell It to the Judge (1949)

85 or 87 mins | Romantic comedy | December 1949

Director:

Norman Foster

Producer:

Buddy Adler

Cinematographer:

Joseph Walker

Editor:

Charles Nelson

Production Designer:

Carl Anderson

Production Company:

Columbia Pictures Corp.
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HISTORY

The film's working title was My Next Husband. ...

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The film's working title was My Next Husband.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
19 Nov 1949
---
Daily Variety
16 Nov 1949
p. 3
Film Daily
18 Nov 1949
p. 4
Hollywood Reporter
8 Apr 1949
p. 10
Hollywood Reporter
29 Apr 1949
p. 12
Hollywood Reporter
16 Nov 1949
p. 3
Motion Picture Herald Product Digest
19 Nov 1949
p. 90
Variety
16 Nov 1949
p. 16
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCER
WRITERS
Addl dial
Contr to scr
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
Gowns
MUSIC
Mus score
Morris Stoloff
Mus dir
SOUND
Sd eng
MAKEUP
Makeup supv
Hair styles
DETAILS
Alternate Title:
My Next Husband
Release Date:
December 1949
Production Date:
5 Apr--16 May 1949
Copyright Info
Claimant
Date
Copyright Number
Columbia Pictures Corp.
16 November 1949
LP2627
Physical Properties:
Sound
Western Electric Recording
Black and White
Duration(in mins):
85 or 87
Country:
United States
PCA No:
13755
SYNOPSIS

When a United States Senate committee that is meeting to decide her appointment to the federal bench questions her about her recent divorce from lawyer Peter Webb, Marsha Meredith argues that she will be a better judge without him. Later, learning that Marsha is in Palm Beach, Florida, Peter travels there, ostensibly to get the testimony of show girl Ginger Simmons in preparation for his defense of small-time gangster George Ellerby. When Marsha sees Peter, whose previous efforts to talk to Ginger were responsible for their divorce, at her hotel, she picks up Alexander Darvac, a shill for a gambling club, and has cocktails and dinner with him. Later, followed by Peter, Darvac takes Marsha gambling. When the club is raided, Peter helps Marsha escape through an old Prohibition tunnel. They land in the water and steal a boat, which they take to a nearby lighthouse. While they hide there waiting for things to cool off, Peter uses the opportunity to persuade Marsha to take him back. After they remarry, Peter and Marsha return to Palm Beach. Afraid that the marriage will ruin Marsha's chances to become a federal judge, her grandfather, Judge Meredith, convinces the couple to hold back the announcement until after the hearing. Back at the hotel, Ginger tells Peter that Ellerby has jumped bail and is downstairs in the bar. Peter accompanies Ginger to the bar, where he is seen by the judge. After Peter accidentally drinks a knockout potion meant for the loudly drunken Ellerby, the judge removes Peter's clothes and puts him on a train. When Peter does not return to their room, ...

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When a United States Senate committee that is meeting to decide her appointment to the federal bench questions her about her recent divorce from lawyer Peter Webb, Marsha Meredith argues that she will be a better judge without him. Later, learning that Marsha is in Palm Beach, Florida, Peter travels there, ostensibly to get the testimony of show girl Ginger Simmons in preparation for his defense of small-time gangster George Ellerby. When Marsha sees Peter, whose previous efforts to talk to Ginger were responsible for their divorce, at her hotel, she picks up Alexander Darvac, a shill for a gambling club, and has cocktails and dinner with him. Later, followed by Peter, Darvac takes Marsha gambling. When the club is raided, Peter helps Marsha escape through an old Prohibition tunnel. They land in the water and steal a boat, which they take to a nearby lighthouse. While they hide there waiting for things to cool off, Peter uses the opportunity to persuade Marsha to take him back. After they remarry, Peter and Marsha return to Palm Beach. Afraid that the marriage will ruin Marsha's chances to become a federal judge, her grandfather, Judge Meredith, convinces the couple to hold back the announcement until after the hearing. Back at the hotel, Ginger tells Peter that Ellerby has jumped bail and is downstairs in the bar. Peter accompanies Ginger to the bar, where he is seen by the judge. After Peter accidentally drinks a knockout potion meant for the loudly drunken Ellerby, the judge removes Peter's clothes and puts him on a train. When Peter does not return to their room, Marsha is furious. In the meantime, reporters have gotten wind of her marriage, so Marsha is forced to claim to have married a man named Roogle, who died the night of the wedding. Marsha then leaves for the Adirondacks to stay with her friend, Kitty Lawton, hoping to avoid further publicity. Once he disembarks from the train, Peter follows Marsha and announces that Roogle is still alive and will soon join them. When Darvac unexpectedly appears, Marsha pretends that he is Roogle. To further complicate matters, Ginger also arrives in the mountains, and Peter sneaks her into his room to hide. As a honeymoon surprise, Kitty arranges for Marsha and Darvac to spend the night in a separate house. Afraid of possible scandal, Marsha tries to decline the offer, but then finds Ginger and is so angry that she leaves with Darvac. After they arrive at the house, Marsha sends Darvac to spend the night at a nearby inn. When Peter appears, Marsha lets him believe that Darvac is still in the house. Through a ruse, Marsha slips Peter some sleeping pills, and he is asleep when Darvac returns to announce that the inn is closed for the winter and that he plans on taking his "husbandly" privileges. Marsha then hits him on the head and locks herself in the bedroom. Later, after Marsha gets her federal appointment, she learns what her grandfather did and tells him that she only became a judge to please him. She then returns to Peter and her "job as a wife."

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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.