Back in 1937, there was a French film ("Heart of Paris") and it starred the great actor, Raimu. Now, three years later Hollywood released a remake--and I can only assume the remake wasn't as good-- partly because Raimu was a wonderful actor and because this American version just wasn't particularly inspired nor did it make a lot of sense.When the film begins, Natalie (Rita Hayworth) is on trial for murder. Although many on the jury think she's guilty, Andre (Brian Aherne) insists for no real logical reason other than his gut feeling that she's innocent. Because he's so vehement, she is acquitted. Then, Andre invites her home to work for him and he gives her a place to live! None of this makes any sense, nor does it make any sense when inexplicably, Andre turns on his new protégé.The film didn't make a lot of sense and I found it all a bit tedious after a while. Not a terrible film but certainly one that's easy to skip.

Having read all of the posts about "The Lady in Question", I can understand how disappointed some people would be, expecting either a Rita Hayworth-Glenn Ford vehicle, a la "Gilda" or a faithful replica of it's source: the French film, "Gibouille". This doesn't take away that "The Lady in Question" is an entertaining film with an odd, curious yet sweet charm that comes upon one quietly and lingers long after the film is over.Two of the posters regarded "The Lady in Question" as a pallid remake of "Gibouille". Having seen some pre-WWII French films, they were not greatly more explicit than Hollywood was, at the time, in dealing with sex and crime. "The Lady in Question" is a mild comedy-drama made by a studio that was well-equipped to handle such material, Columbia Pictures. Director Charles Vidor, a Frenchman himself, nicely, subtly, and lingeringly establishes time and place. It greatly allows for the suspension of disbelief of hearing perfect English accents on French characters.This film showcases Brian Aherne, who all too rarely was showcased at all, let alone in a comedy that he carried. He plays Morestan, the bicycle shopkeeper, admirably and almost succeeds in making one believe he was a middle-aged shopkeeper. He has just the right light tone to unify what is a mild plot and a minor-A film. Yes, studios didn't always make big-budget films with their stars. Many of their films, including "A" pictures, were "programmers", films that showcased stars and promising contract players. This, "The Lady in Question" did.The players do shine, even though this film is an early entry for future stars Rita Hayworth, Glenn Ford, and Evelyn Keyes. In what could've been a merely decorative role, Hayworth truly has that "lady of mystery" quality that not only holds your attention but, momentarily, keeps one guessing as to whether or not she was guilty. Glenn Ford plays what would've been a callow juvenile with earnestness, a convincing portrait of young lust/love, and just enough vulnerability to make his love/suspicion relationship with Hayworth's character believable. Everyone acquits (pun intended)themselves very well in this film. Since the American film industry doesn't put out "programmers" anymore and we, as a public, are conditioned to see most star vehicles as big-budget affairs, it's a lost art but a beautiful one to sit, savor, and merely enjoy a well-crafted, entertaining film that isn't about anything special but delivers.

The Lady in Question is noted in cinema history as the first film to feature both Rita Hayworth and Glenn Ford. However it's not their film, both are second and third billed respectively below Brian Aherne.Columbia Pictures remade the French film Gibouille which had been done the year earlier with Raimu and Michele Morgan in the roles that Aherne and Rita had. In fact Gibouille was what launched Michele Morgan's career in French cinema.Knowing that I think a lot of the film's humor and innuendo probably got lost on the transatlantic voyage. Aherne is a bicycle shop owner who has been picked for jury duty and is determined to take his responsibilities quite seriously. He gets on a case with Rita as a defendant who is accused of murdering her fiancé. Aherne's questions to her and his forceful advocacy of her, earn Rita an acquittal.But Brian's not finished. He offers to give her any kind of help she needs because while she has a legal acquittal, she's got a reputation like O.J.'s. Aherne takes her in which causes all kinds of complications with his wife, Irene Rich, son Glenn Ford, daughter Evelyn Keyes, and her fiancé Edward Norris.The Lady in Question is probably done in by the infamous Code firmly in place in Hollywood. Stuff that the French cinema could and did do, were forbidden here. Columbia also had to keep it in the French setting because of the differences between their jury system and our's.Still Rita and Glenn do shine together, although no one I'm sure would ever have predicted their mega-hit Gilda six years later. Actually Edward Norris has the nicest performance as the no good rat of a fiancé that Keyes has, who tries to put the make on Rita.It's a pleasant enough film, but I'm betting the original French version must be infinitely better.

Having seen (and commented on for IMDb) the more recent movie by the same title with Gene Wilder, I wanted to watch the 1940 movie to see if there was any resemblance between the two. There was none. Although I am less qualified to evaluate this movie, considering it was made eight years before I was born, I must say it seemed to me that this court-room mystery could not make up its mind whether it wanted to be a comedy or a serious drama. There were alternating comedic and serious touches which I believe detracted from the overall enjoyment of the film. However, the story was enjoyable for a one-time viewing. Rita Hayworth and Glenn Ford were familiar to me. Brian Aherne was unfamiliar to me in name, but I believe I recognized him from other movies. He reminded me a little of blustering William Powell in "Life with Father," a movie I cannot stand. It seemed to me the wife could have seen through the father's stories a lot sooner, the silliness of the daughter was overdone, and the scenes with Glenn Ford and Rita Hayworth could have been more revealing as to their true feelings for each other. The pairing of the daughter with the fat boy was predictable. And I don't know that the real truth about Rita Hayworth's character really made all that much difference in the end. But these are just my opinions, and I'm glad to say I was able to view the film this once.