The Lady Says No is the type of post World War II film that tackled issues the movies would not focus on. In this case, it's feminism. Beautiful Joan Caulfield (Blue Skies, The Unsuspected) was directed by her husband, Frank Ross, to play a man-hating writer of a book telling women to be cautious of a man's desires. David Niven is a photographer for a magazine who tries to do a story on her, but romance steps in...with complications. He gets embarrassed for whistling at her, she takes the heat for her book causing a marital break-up. But, ultimately, things turn around, as a sergeant reunites with his wife and writer and photographer get back together, as well.Also in the cast are Francis Bavier (Aunt Bee-The Andy Griffith Show), James Robertson Justice, Henry Jones, Lenore Lonergan, and Peggy Malley, with Bavier and Justice as Caulfield's aunt and uncle, Jones and Lonergan as a military couple, and Malley as a friend of the military couple.Mostly hilarious and predictable (Caulfield's dream of her fighting off jungle women to get to Niven), but stoic in some areas (Niven's lack of comic response), the film was written as a showpiece for Caulfield, who carried the movie. Wouldn't mind seeing it again. In other words, I would love to see Caulfield flaunt her style in Orry-Kelly fashions, while she defends her position of feminism, while a different actor could have been used as a comic foil, maybe Fred MacMurray. A film slightly ahead of its time.

Have you heard this one before? A man and a woman meet for the first time, initially they are diametrically opposite to each other, but they meet half way (or, more accurately and in keeping with the times, 3/4 of the way closer to the man's starting position, but let's not overanalyze things here) and they fall in love. "The Lady Says No" is a thin and veeeeery predictable comedy, but at least it's never boring, and sometimes it gets funny. The not-too-well-known today Joan Caulfield gives an appealing performance, while David Niven coasts along in his customary style. The film's one notable step out of the ordinary is a bizarre dream sequence. ** out of 4.

Frank Ross distinguished himself in various ways - he was married to one great actress (Jean Arthur) and one acting joke (Joan Caulfield), he produced a couple of Sinatra titles (The House I Live In, Kings Go Forth) and a fairly risible pseudo-religious entry (The Robe). Somehow he got the idea he was equipped to direct a film and given that his second wife Caulfield was sorely in need of a vehicle that may remind viewers she had once been in the same film (Blue Skies) as Bing Crosby and Fred Astaire, coming a bad nowhere despite co-star billing, he must have seen this as a chance to kill two birds with one stone. Alas ... the teaming of two actors of monumental unequal talent (David Niven and James Robertson Justice) was only eclipsed a couple of years later when Fred Astaire wiped the floor with Jack Buchanan in The Bandwagon and the chemistry between Niven and Caulfield could only have been eclipsed by Garbo and Mr. Bean. One best forgotten.

Slight romcom set in around 1950s Carmel, California, where suave bachelor globe-trotting photographer David Niven is assigned to shoot a best-selling feminist author, who turns out to be the virginal, cool and very smartly turned out blonde Joan Caulfield. At his first tired ploy of getting her to remove more and more clothes, she ends the shoot by walking out. Each further advance on his part is met by more rebuffs, following which she allures him into yet more humiliation. Even her dreams show attraction competing with repulsion. Restless, she starts interfering in the romances and marriages of his blue-collar friends as well. It has to end, as we know it will, with her growing up. The little girl who keeps saying no must become a woman and learn to say yes. Good support from, among others, James Robertson Justice as her errant Irish uncle, Henry Jones as an amazingly unwarlike army sergeant and Lenore Lonergan as his battleaxe wife.