It's always fraught with danger when you re make something that's considered a classic, and this one is no exception, but I suppose with colour becoming the norm by the 1950's, as now, they tried a re make for newer generations. Don't think Ray Milland wanted to do it, but he was contracted to the studio. I certainly don't agree with the reviewer who said he was no good at comedy, that was his main stock in trade, and his breezy, suave comedy style brightened many a film over the years, wish there was someone half as good today. Jane Wyman could hold her own in a musical, she'd just made a couple of films with Bing, if you don't step up to the plate with Der Bingle, you look pretty shabby. The trouble wasn't with the players, it was the fact that the script wasn't as good as the original, and it doesn't pay to compare anyway, it's pleasant enough on it's own merits, no classic, but an enjoyable enough bit of fluff, carried by two veteran stars!

Once I realized that Ray Milland was doing a poor imitation of Cary Grant's mugging in the original screwball comedy, "The Awful Truth," I knew why the film failed to sparkle as a comedy. Added to the comedy are some musical interludes that fall as flat as the dialog. The whole film leaves you feeling that it's a silly waste of time.And in the central role of a woman determined to win her hubby back, Jane Wyman is dressed to kill but looks more like an uptight woman too prudish to display herself in such a lavish wardrobe. Only when she lets loose pretending to be Milland's hyperactive sister and demonstrates some of her flair for musical comedy does her performance come to life. Otherwise, you keep expecting those tears to flow.The story may have worked in the '30s when screwball comedy was supreme and was handled with comic dexterity by a sparkling cast. But here it gets a flat reception from an uncomfortable looking Ray Milland, a miscast Wyman and an equally out-of-his-element Aldo Ray.Summing up: A bad remake of a popular screwball comedy, it falls far short of the mark in every department--writing, acting, direction. Only Tom Helmore (the scheming husband of "Vertigo") manages to look and act as urbane and distinguished as the part demands with the proper comic flair.

Jane Wyman and Ray Milland united 8 years later after the award winning "The Lost Weekend." By 1953, they made this very frothy, often silly film "Let's Do It Again."It must be remembered that Jane Wyman began her career as a song and dance lady. She sings and dances here, but after performances such as "The Yearling," and her Oscar winning "Johnny Belinda," and with the other fabulous "The Blue Veil," and "All that Heaven Allows," along with "Miracle in the Rain," and "Magnificent Obsession," to follow-she will always be remembered as a great dramatic actress.This film is inane as she and Milland play a theatrical couple divorcing after a misunderstanding. Wyman meets up with Aldo Ray, a millionaire, horrendously miscast in this film. The film is devoted to turning the tables on the divorcing couple. This remake of "The Awful Truth" is silly at best.

Milland and Wyman were great dramatic actors. Of course they don't belong in this light comedy, however Mr. Milland at least does demonstrate an ability to do comedic material. Not in a funny way, but more like a great actor acting out a comedy. In other words, his talent enables him to play down to lightweight roles, deliberately and with a lot of film acting finesse and smooth technique on his part. Everyone knows he is not in Cary Grant's or Rock Hudson's league at romantic comedy but then this is only a super-lightweight role so Milland plays it that way. Thats all he is asked to do, and he manages OK. Unfortunately the same can't be said for Ms. Wyman.Probably Ms. Wyman could somehow jerk tears and pathos out of this movie as was her specialty, but isn't asked to do that style of acting here, therefore such obvious hard-drama abilities are so misplaced they don't enhance the overall tone of the movie. Her severely bobbed hair only enhances her dramatic manner, but who needs dramatic impact here?. On the plus side, she has a natural talent for providing a classy presence and for looking good in high fashion clothes.Milland is granted the advantages of having some farce situations (the yellow bathrobe scene, the fight with another guy in Ms. Wyman's back room) and he handles these deftly enough. Unfortunately for Jane Wyman, she has little to do except model beautiful clothes and sing (or lip-sync) to some 1950's light music.This movie moves along at a good pace and appears to be well directed, considering the lackluster script. The color photography, art direction, and general overall plot/concept are good, except for some forgettable musical spots. The supporting cast is fine, including underrated Tom Helmore in one of his too-few movie appearances.As an example of second-rate 1950's romantic comedies, this is not a bad one as long as you don't expect much beyond light entertainment. Milland fans won't be disappointed in his efforts, Wyman fans will at least get to see her at the peak of her talent and looking her best, but the results here fall far short of her potential.