Aubrey Hackett While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Mandeep Tyson The acting in this movie is really good.

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Alex da Silva Lawyer Rosalind Russell (Marsha) wants to be a judge but there is a committee that is judging her before her appointment. And they are not happy about her recent divorce. Fellow lawyer Bob Cummings (Pete) is her ex-husband who still loves her and wants her back but several misunderstandings concerning witness Marie McDonald (Ginger) in one of his cases makes sure that Roz doesn't feel the same way. It's a screwball comedy so we know the outcome. Roz Russell is a total bitch in this film and Cummings is unrealistically in love with her. The story makes absolutely no sense and will have you groaning every time Cummings bangs his head. When is that ever funny? The answer is never. There are actually a few moments that made me laugh, eg, the alphabet conversation between Roz and suitor Gig Young (Darvac) at a bar when Roz is trying to make Cummings jealous. However, no way would he still be interested in this awful woman. It should be quite clear to her that she has been mistaken and he is doing his job by helping a witness. She's in the same industry as him!Of more interest is the storyline with Marie McDonald which never really takes off. The lasting image I have of the film is the end shot of her in the closet. I have read her profile on IMDB after watching the film and it is way more interesting than the film. She killed herself at age 42 and seems to have crammed in quite a lot before that point. The film is one of those 1940s comedies that you either like or don't like. It proves that comedies are the most difficult genre to carry off and a lot of the humour is dated along with the stereotypical characters of bumbling husband running after wife and total bitch of a wife who wants a career over being a nice human being. Roz needs to sharpen up on her cooking skills - see the fish sequence - and concentrate on pleasing her man.

JohnHowardReid Director: NORMAN FOSTER. Screenplay: Nat Perrin. Additional dialogue: Roland Kibbee. Story: Devery Freeman. Photography: Joseph Walker. Film editor: Charles Nelson. Art director: Carl Anderson. Set decorator: William Kiernan. Costumes: Jean Louis. Make-up: Fred Phillips. Hair styles: Helen Hunt. Music composed by Werner R. Heymann, directed by Morris W. Stoloff. Assistant director: Sam Nelson. Sound recording: George Cooper. Western Electric Sound System. Producer: Buddy Adler.Copyright 16 November 1949 by Columbia Pictures Corp. No New York opening. U.S. release: December 1949. U.K. release: 10 April 1950. Australian release: 30 March 1950. 7,920 feet. 88 minutes.SYNOPSIS: Rosalind Russell is the judge-to-be, Robert Cummings her ex-husband who wants her back, Gig Young a playboy type that Russell is successfully using to bait Cummings.COMMENT: Robert Cummings certainly wins his spurs on this one as a "light comedian". Bob mugs, grimaces and pratfalls his way through a lot of frantic action before he finally wins the day (and the lady). If you like Mr Cummings (I don't mind him), you'll doubly enjoy the extra cornball efforts he brings to his role here. If you can't stand Cummings, avoid this film at all costs. You have been warned.Russell and Young do well by the main supporting slots, but it is young Marie McDonald who will attract most attention. Exquisitely costumed, Miss McDonald's only failure - and it's not her fault - is that her role is so intermittent. She keeps popping in and out of the action. We wish she would stay put for longer, before Cummings hustles her into the inevitable clothes closet.Despite some obvious process screen effects, the film is sound technically: The photography's glossy, the music score witty, the sets and costumes appropriately glamorous, whilst Foster's competent if none too subtle direction gets the most out of Perrin's amusing script. In short, this judge found it a most entertaining tale.

Armand one from many romantic comedies from the 40's . not extraordinary but nice. and lovely for the seductive performance of Robert Cummings. a film about true love and the situations who transforms it in project. absurd in many scenes, lovely at all, it is the genre of film who seems be open window to a past period. because it has the innocence, the great, the flavor of lost age. Rosalind Russell could be the only challenge for viewer. because it is only a decent option for the role of judge but her rhythm is very different by Cummings' and that gives some fake nuances to the story. an inspired presence - Harry Davenport in a small role. short, a lovely movie. from the heart decade of a magnificent period for cinema.

jarrodmcdonald-1 It is not too difficult to see why Robert Cummings is often cast in light comedic fare such as this. His facial expressions alone are worth the price of admission in Tell It to the Judge. And there's something hysterical about seeing him dressed as a train attendant, though it would also have been fun to see Cary Grant in that get-up.The only part that drags is the sequence at the lighthouse, which has the film's most unfunny business: something about chopping off the head of a fish. But the film quickly redeems itself, and it reaches its peak with a delightful ski sequence later on. Overall, a fun film with some inspired comic bits by Cummings and costar Rosalind Russell.