In the 1950s and 1960s, Americans especially were more concerned about taxes than at any other time. At least, that's what Hollywood might lead one to believe, based on the number of films it turned out in those years with tax-related themes. Of course, we should be concerned about taxes. But, comedies such as "The Mating Game" helped put taxes into perspective. Toss in doses of romance, good-naturedness, neighborliness, friendships, and resentment and greedy wealth, and one has the makings of an entertaining and funny movie. This film is an American version of the Larkin family. It's based on a 1958 short novel, "The Darling Buds of May," by British author H.E. (Herbert) Bates. In the book, the Larkins reside in rural Kent, the southeastern most county in England. Canterbury is located there. Yorkshire Television produced a TV series that ran from 1991 through 1993 in England under the original name of the book. This American adaptation made significant changes, mostly to accommodate for the culture differences. So, the setting here is in rural western Maryland. Apparently it was all shot in the MGM studios in California. All the cast are excellent in this farcical story. Another reviewer thought Tony Randall was miscast as Lorenzo Charlton, but I agree with others who saw him as the perfect reticent and reluctant object of romance for Debbie Reynolds' Mariette Larkin. The two ogres in this film are played by Fred Clark (as Oliver Kelsey) and Philip Ober (as Wendell Burnshaw). They were a couple of the best character actor villains in those days. The chasing scenes involving Mariette are a lot of fun, and the exchanges with Lorenzo over taxes are very funny. But two actors stand out – Paul Douglas and Una Merkel as Pop and Ma Larkin. They steal every scene in which they appear. This was indeed a fine performance by Douglas, who often played tough guy roles or serious parts in films. It was his last film. Douglas died a few months after this film came out. He suffered a heart attack at age 52. People who want all the details of movies to make sense or to be realistic may not enjoy this film. But those who love comedy will get many smiles and laughs from "The Mating Game."

Rambunctious Debbie Reynolds (as Mariette Larkin) gets the urge to mate with tax collector Tony Randall (as Lorenzo Charlton). And, he wants to mate with her! - How? - Well, farming father Paul Douglas (as Sidney "Pa" Larkin) doesn't pay taxes; he trades things, and raises piglets. Maryland "Ma" Una Merkel raises children, and bakes blueberry pies. Ms. Reynolds rides a pig into wealthy neighbor Philip Ober (as Wendell Burnshaw)'s mansion, prompting Mr. Ober to summon Mr. Randall from the IRS (Internal Revenue Service). Will Randall collect taxes, Reynolds, or both? Reynolds and Randall are not a very convincing romantic couple. They should have considered casting, perhaps, Sandra Dee and Troy Donahue. Randall dances a drunken melody of "Frère Jacques" / "I've Got You Under My Skin". This is followed by an impossibly implausible (even for this type of film) implied sex scene, with Reynolds. Director George Marshall gives it an appropriate feature-length "sit-com" treatment; but, the material makes the increasing slapstick more painful than funny (witness the "barn" fight scene). The supporting cast, with its old pros and fresh faces, is a treasure trove, however.***** The Mating Game (4/29/59) George Marshall ~ Debbie Reynolds, Tony Randall, Paul Douglas, Una Merkel

Energetic romp overseen by that veteran of slapstick George Marshall. This is not his best, but he does keep things moving. Enjoyable for the most part if you can get past owlish Tony Randall as the answer to a maiden's dream (Debbie Reynold's). He certainly looks the part of an IRS collections tiger, but it's a stretch in the romance department. Lots of barnyard innuendo as earthy farmer Paul Douglas and his obstreperous family manage a living outside the money economy. He barters things in shrewd fashion, while enjoying life's simple pleasures. That is, until snobby neighbor neighbor Philip Ober sics the IRS on him in an attempt to grab his property after Douglas refuses to sell.Really clever premise, with a provocative subtext that pits the older agrarian way of life against the modern complexities. Bureaucrat Randall must collect a lifetime of back taxes from throw-back Douglas who, of course, has never dealt in money. But Randall, all officiousness, has never encountered the likes of the artful farmer and his bursting-with-life family that keep him perpetually off-balance. At the same time, comely daughter Reynolds works her wiles in typical spirited fashion. Some funny set-ups, especially when the barnyard critters turn on the hapless bureaucrat. However, some of the slapstick goes on too long for my liking, suggesting that Marshall is indeed past his prime. Nonetheless, Douglas is near perfect as the good-natured hick, while Reynolds manages the spunk without too much excess. Look for outlaw biker Bill Smith as a muscle-bound rowdy, and of course the great Fred Clark in one of his typical bah-humbug roles. All in all, there are some genuine guffaws, but in some ways the movie is more interesting than anything else. Come to think of it, comedy aside, the movie can be viewed as a must-include at any hippie or Libertarian film retrospective.

I saw this together with "Every Girl Should get Married." Each is an example of a very large collection of movies about a charming girl plotting to get an innocent and succeeding. The game in this movie is to entice the audience into falling in love with the girl, thereby setting templates and expectations in so-called real life.The filmmaker has to make a decision: will she place the audience within the movie or outside? "Every Girl" placed the viewer in the movie. The tone of the thing is earnest and the girl's appeal is earnest. She is so natural and appealing one really does fall in love with her. Her costar did as well and married her.This is different. The whole thing is cast as a show, with some musical numbers. The situation is stagy: the city gent and the country lass. Debbie Reynolds does a stereotype rather than a real person. We don't fall for her in this movie because it lacks charm. But there are many examples of this approach where we do, or rather we fall in love with the stereotype.If you are a serious movie watcher, you too need to make a choice. We cannot escape falling in love or otherwise getting engaged with what we experience on screen. But we can decide which to approach seriously. You probably want to avoid these "outside" movies that play with love.Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.