Rodeo cowboy Chris (Fred MacMurray) has a whirlwind romance while visiting New York for a charity gig where he meets song writer Kay (Irene Dunne.)After rapidly getting married she drives cross country to his ramshackle Wyoming ranch where she becomes stepmother to his two daughters from his first marriage.Much of the movie sees Kay trying to adjust to her life at the ranch and raise her new stepdaughters. Problems begin with the neighbouring rancher who holds the water rights and whose cow, Kay accidentally shoots.Kay contemplates returning to Broadway to earn money in this fish out of water comedy. The cast make the film better than it should be, there are a few songs but it really is not that funny and rather predictable.

Question: How does a New York City gal fit in out in the country as a new bride? Response: I don't know. Is this Barbara Stanwyck in "The Purchase Price", Merle Oberon in "The Cowboy and the Lady", Claudette Colbert in "The Egg and I" or Eva Gabor on "Green Acres"? Real Answer: Well, in this case, it's Irene Dunne in "Never a Dull Moment" where she is ironically wed to Fred MacMurray who did basically the same thin in "The Egg and I". Instead of a chicken farmer here, though, he is a rodeo performer, and she is a Broadway songwriter. The predicament is pretty much the same for Dunne as it was for Colbert, except for the fact that MacMurray has two young daughters (Gigi Perreau and Natalie Wood) who are at first suspicious of her but are won over when she gives them designer watches as "Hi, I'm your new step-mommy dearest" presents. Then, there's the gossipy neighbors on party lines, an overweight Indian cook who practically drowns herself in Dunne's perfume while trying to fit into Dunne's dresses, and the grouchy rancher (William Demarest) keeping his water supply all to himself and anxious to buy MacMurray's property himself. When he is humiliated at Dunne's opening night party, you know he's going to be doing all he can to get them out, but Dunne has a trick or two up her gingham sleeve.One very funny scene has Dunne fighting practically every kind of disaster (including the wind which threatens to tear down the house) all at once. MacMurray is pretty much overshadowed by Dunne who dominates pretty much the entire movie. She is still youthful enough here to do pratfalls, sing a square dance and remain glamorous as she figures out how to close a swinging gate surrounded by mud without getting filthy herself. To think the same year she played Queen Victoria in "The Mudlark" shows her versatility, but unfortunately, she was on the verge of permanently ending her film career. Perreau and Wood start off in dangerous territory as they appear to be hateful brats, but fortunately, the writers changed course quickly. The results of all of this is a watchable but formula comedy that has some unique moments but basically suffers from familiarity.

I love this movie.Irene Dunne is one of my favorite actresses and one of America's all-time greats. She is typically marvelous in this film. Fred MacMurray is likewise a real personal favorite. Together this wonderful, talented duo create two likable, sympathetic characters that you root for and that you want to find happiness together. Of course, it is never in doubt that they will end up together, but the complications along the way are made much more enjoyable and the slapstick is boosted beyond the ordinary because of the great personal charm and fantastic timing of these two leads. Irene Dunne, in particular, is one of the masters of comic timing.Natalie Wood and Gigi Perreau both portray their characters very credibly. Their enthusiasm over the wrist watches that Dunne gives them is also a neat reflection of the simpler values and expectations and the more modest means of that time. They have some cute dialog. In her youth Wood may have been cuter, but seldom as realistic as in this role. Perreau may be remembered best as the young Lark in Enchantment, with David Niven.The clever repartee between Dunne and William Demarest when she first arrives at the ranch is classic 30's and 40's script writing. The scene when MacMurray's cronies wake him up at 5 a.m. to go cougar hunting and then all make themselves at home in his bedroom on the double bed with Dunne is also a load of fun. (Please note that this was still in the double bed era of film-making, which is also something I kind of watch for.) The running gag about the dog is a lot of fun, too.One aspect of this movie seems to get overlooked. It provides a glimpse of life among working people in rural (and even small town) America that is not too distant in time, but is all but forgotten. Those people had to work a great deal harder at life than we do today. Cooking and washing were real chores. Life on a ranch was especially difficult. Besides the opportunities for slapstick humor, these chores provide us a glimpse of that hard life that people lived not so long ago. When MacMurray comes home late one night after butchering a steer, he is beat. His weariness is palpable. The scene is full of warmth between the characters, and it reflects real understanding of that hard life.This film offers both slapstick and great comic dialog. However, it also provides endearing characters in situations with just enough real-life type conflict to make this romantic comedy very charming and poignant. In the hands of a lesser cast, this movie might have been very ordinary, but because of Dunne and MacMurray it is a real delight. I regard this as one of the last of the screwball comedies - and a very good one. I have tried to find it on DVD.PS - Irene Dunne's last film appearance was in It Grows on Trees (1952), a wonderful and quirky modern day (1950's) fairy tale. It is very rare, and utterly delightful. But if you don't like this film, you probably should not bother with it.

Irene Dunne, one of the best comediennes in the history of the movies, retired from acting after completing this comedy that was not up to her best work. Ms. Dunne was seen in great films during her Hollywood career that were made better by her style, sophistication and beauty. Alas, in this one, her character, Kay Kingsley is swept off her feet to a rancher who lives out west.Kay Kingsley is part of a composing team based in Manhattan. Kay is elegant, smart, and it's hard to imagine she would fall in a short period of time for Chris, who is way out of her league, and who comes with some baggage, as he is a widower with two young daughters back home. This is a big proposition because it involves leaving behind modern plumbing and heat. Accepting that premise, Kay transplants herself to the ranch that is falling apart because of neglect and lack of money to improve it.Things go from bad to worst. The two girls, Nan, and Tina, give Kay a guarded welcome, but they come around when they see she is a good person who has had no experience with her present situation. With the help of her neighbor Jean, Kay gets a handle on things, not before running away to Manhattan to try to see if she still wants her old life back.The film was directed by George Marshall, a veteran of the movies, who tried to give the comedy some pacing, but doesn't succeed well. The problem with the film is Fred MacMurray, an otherwise perfect actor, who shows no chemistry with Ms. Dunne. Irene Dunne tries her best to make her Kay a wife and step-mother. William Demarest, Andie Devine, Ann Doran and Philip Ober are seen in supporting roles. Gigi Perreau, a child actress of the time, plays Tina, and Natalie Wood, who, as Neil Doyle points out, was probably having problems at the time and is not her usual self as Nan. See the film as a curiosity and because this was Irene Dunne's swan song at the movies.