Although Cary Grant is justifiably remembered as a screen legend (indeed he was probably the most adept of any of his contemporaries at romantic comedy), it seems criminal that Irene Dunne is almost forgotten these days. This is the second and most lightweight of three very fruitful screen pairings they had during this period - the other two are the even more insane divorce farce, "The Awful Truth", from 1937 and 1941's child adoption tearjerker, "Penny Serenade". With her insinuating laugh and sophisticated but down-to-earth manner, she is a wonderful screwball heroine, even if she lacks the haughty glamour of Katharine Hepburn or the brazen beauty of Carole Lombard.<br /><br />Here Dunne plays Ellen Wagstaff Arden returning home after seven years shipwrecked on a desert island. The problem is that her husband Nick has just gotten remarried to a high maintenance socialite named Bianca. Further complications ensue when it's disclosed that Ellen was not alone on the island and that her companion was an athletic Adonis named Stephen Burkett, of course a bachelor. The ending is obvious from the beginning, but there are some hilarious set pieces along the way, in particular, when Ellen recruits a timid shoe salesman to impersonate Stephen and also when her ruse is exposed as the real Stephen pops up from the country club swimming pool. In 1940, the same year he made classics like "The Philadelphia Story" and "His Girl Friday", Grant is at the top of his game, and Dunne matches him every step of the way. It does seem a bit of a stretch to think that the principal characters would be celibate for seven long years, but such was 1930's Hollywood convention.<br /><br />Randolph Scott gamely plays the dumb-as-dirt Stephen, an ironic choice given the rumors of the actor's relationship with Grant. As Bianca, the glamorously venomous Gail Patrick - expert at such roles from classics like "My Man Godfrey" and "Stage Door" - knows her fate in the movie but doesn't really show her talons until the courtroom scene. In scene-stealing bits are Granville Bates as the frustrated judge and Donald MacBride as the confused hotel clerk. The only drawbacks are the overly precocious children played hammily by Scotty Beckett and Mary Lou Harrington. Directed with comic mastery by Leo McCarey, it's a frothy confection from a bygone era, and the far inferior 1963 Doris Day remake only proves how unmatchable Grant and Dunne are. The DVD has a surprisingly pristine print transfer, and extras include an unrelated comic short featuring humorist Robert Bentley and a condensed 1950 broadcast of the movie featuring Grant and Dunne.