I was surprised to find Louisa is an original screenplay. The first half resembles a photographed stage play - and oddly enough this is when the comedy is at its funniest. Once the author has all his characters and his potentially intriguing situation on stage and in place, he is none too sure how to resolve things, but resorts to slapstick car chases, fist fights and brawls.
Reagan and the other players try to make their now feeble lines stronger by shouting all their dialogue at the top of their voices. It doesn't work. When the film is quieter and lines are funnier, the players are better too. Coburn is the only one who manages well from go to finish. Even Ed Gwenn is defeated by the script's weak material in the latter stages, though he has some splendid material earlier on, including an hilarious dinner table proposal which degenerates on Coburn's arrival to a plaintive altercation.
All audience sympathy is plainly with Coburn rather than the wimpish Gwenn which makes the conclusion all the more unsatisfactory.
Reagan does well in the first half, but is one of the worst shouters later on. It even looks as if he were re-synching his lines to shout them even higher. An uncomfortable and strained performance.
A pity another writer wasn't brought in to doctor the script's last half. Still there are enough funny, memorable moments in the first to justify giving Louisa a look.
Photography is attractive, but Hall's direction is undistinguished (I thought it was Fred de Cordova it's so bland in the first half, so mistimed in the second). Production values are extremely moderate. Unusual theme too.
It's hard to credit that this sloppily recorded film with its clumsy post-synching and too-strident dialogue was actually nominated for an Oscar for sound recording. Why, in heaven's name?
Reagan and the other players try to make their now feeble lines stronger by shouting all their dialogue at the top of their voices. It doesn't work. When the film is quieter and lines are funnier, the players are better too. Coburn is the only one who manages well from go to finish. Even Ed Gwenn is defeated by the script's weak material in the latter stages, though he has some splendid material earlier on, including an hilarious dinner table proposal which degenerates on Coburn's arrival to a plaintive altercation.
All audience sympathy is plainly with Coburn rather than the wimpish Gwenn which makes the conclusion all the more unsatisfactory.
Reagan does well in the first half, but is one of the worst shouters later on. It even looks as if he were re-synching his lines to shout them even higher. An uncomfortable and strained performance.
A pity another writer wasn't brought in to doctor the script's last half. Still there are enough funny, memorable moments in the first to justify giving Louisa a look.
Photography is attractive, but Hall's direction is undistinguished (I thought it was Fred de Cordova it's so bland in the first half, so mistimed in the second). Production values are extremely moderate. Unusual theme too.
It's hard to credit that this sloppily recorded film with its clumsy post-synching and too-strident dialogue was actually nominated for an Oscar for sound recording. Why, in heaven's name?