User Reviews

Once the Hayes Production Code went into effect in the early 1930's, it's hard to believe they let a film like this get through, even if some of it was trimmed and softened along the way! Hubbard and Landis play a wealthy, attractive young couple who squabbles over little things (and not so little things like Hubbard's massive dog!), but who also love each other deeply. One night, after a particularly aggravating day for both of them, they wish that they could switch places and, thanks to the statue in their bedroom, which comes to life briefly, they do! Landis' wakes up with her consciousness (and voice!) in Hubbard's body and vice-versa! Their thunderstruck friends and co-workers are confounded by the changes and a string of mini-disasters occur. Hubbard is energetic and handsome, exhibiting the Type-A businessman qualities that would reach their zenith in the 1980's. Landis is elegant and amusing. The two share a nice chemistry (and, in fact, had worked together on "One Million BC" just before this) and are believable as a couple. Menjou, who received top billing for this film, is Hubbard's tippling business partner, married to the haughty and conniving Astor. Gargan is Hubbarb's other, even more boozy, partner who's married to flighty Compton. These folks bear the brunt of the changes in the life-swapping couple. A large assortment of other characters dot the landscape including Meek as a jittery valet and Main as a salty, no-nonsense cook. Teasdale (who was Menjou's real-life wife) plays Hubbarb's devoted secretary. The director's daughter, Roach, gets a featured role as a new, blonde dim-bulb secretary for the adverstising firm the three men jointly run. Pangborn has a small role as a client who finds the "new" Hubbard very appealing. The first half of the movie plays out like a romantic screwball comedy, some of which hits and some of which misses. Even when it's less than stellar, the beautiful sets and costumes impress and the quirky characters are enchanting. Later, the supernatural element kicks in and things get much zanier and more outrageous, though nothing too crazy ever happens (unless one counts the zinger of an ending!) What gives the film its distinction is the way it presents the mixed up couples. Hubbard walks like a lady and has a female voice. Landis wears sweat shorts and climbs a flagpole. These role-reversal elements give the film a vibe that appeals to some gay and lesbian viewers. Adding to this is the presence of fruity Pangborn and mannish Teasdale, not to mention the rather butch Main and an eager masseuse (Alper) who can't wait to get his paws on Hubbard at every opportunity. The film is perhaps as far away from politically correct as one can get these days with all the boozing and the stereotypes (including racial) one can imagine, but it's a frothy, brief treat that is always interesting to look at and is frequently funny. Landis, an actress who would kill herself at 29, is lovely and Astor looks tremendous in a variety of gowns and headgear. This concept would be tweaked and redone many times in films like "Freaky Friday", "Vice-Versa" and others.

"Turnabout" has been included in this year's San Francisco International Film Festival as a prime example of UCLA's Film Preservation work. I saw it yesterday at San Francisco's Castro Cinema and was quite impressed with the quality of the image as well as the sound. It looked as though it had been filmed last week. I didn't know what to expect of the film itself, especially after reading Leonard Maltin's negative review in his annual film guide. I was very pleasantly surprised at how delightfully zany and hilarious it proved to be.

The cast couldn't be better and their ensemble work was spot-on. Even the minor roles by Donald Meek, Franklin Pangborn and Marjorie Main, among others, contributed to the fun. I was not familiar with John Hubbard's work, but he was very funny in his gender switching role and played it to the hilt. Carole Landis, Adolphe Menjou, Mary Astor, Veree Teasdale, William Gargan - all of them were splendid. The situations and the dialog were rather risqué for a 1940 film and I'm surprised that it got past the censors. In fact, the Catholic Legion Of Decency rated it "objectionable in part." Seeing it in these these times, however, one can only smile at what was deemed objectionable 66 years ago.

One of my favorite scenes involved the destruction of a radio by Menjou and Gargan who were trying to shut out the sounds of a program that was sponsored by a client whose account they'd lost. They tore it apart and then began stomping on the assorted parts that were scattered on the floor but the sound continued unabated. Finally, Menjou jumped on the one remaining tube and the sound abruptly came to a stop. The scene was classic Hal Roach and was totally hilarious.

I hope that "Turnabout" is issued on DVD utilizing the beautifully restored print that I witnessed yesterday. This film is definitely one that should be available for people to see and enjoy.

When a film with fill time plus opening and closing credits time runs 83 minutes there is no room for anything in the final print which does not work in retrospect in the millennium. The film is Hal Roach slick in terms of quality print for the time period technical limitations, brilliant tight ensemble acting and silly screwball comedy approach yet so dated I found it largely unwatchable. Why would a gent changing for his scheduled health appointment be worth screen time in this tightly timed setup or then acting unmasculine in ladies' lingerie? This can be considered an excellent acting job for a talented performer playing a fictitious guy but not necessarily what people want to bring their families to see in the movie house. There is enough star power in the supporting cast, think Mary Astor, Donald Meek and Marjorie Main in prominent supporting roles for their fabulous results in the edited cut to be worth honor and respect - fabulous! By comparison the fine work done by less prominent Hollywood personalities may be excellent in terms of their craft (hats off) but not necessarily post code risqué with too many inherent show business risks to screen it in 1940 to raise the rating to even average.