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on 24 November 2009
People have always found reasons to distance themselves from others - `race', religion, sexual orientation, origin. Why? Because they don't look like the judges, because they think differently, because, because, because... But hey, if everyone were the same, wouldn't earth be a terribly boring place? I wouldn't want to live in such a world! Conformism? No thanks. People are individuals, they have names, dreams and goals. That's what should be celebrated! The variety!

London is awesome in that if you sit down in the tube, the people sitting right and left of you can broaden your horizon so much since they have different cultures and backgrounds. That's so interesting, isn't it? We don't get that without immigration.

Underneath it all, we are all human. We all Homo Sapiens! We are all in the same boat! - or we should be. That's the problem with today's society. We are all born into different environments but instead of acknowledging human equality, we are obsessed with protecting what is ours from all those foreign influences, those threats, those people problems.

Yet, we want to venture into their lands - for fun, holiday and career opportunities. Having work experience in foreign countries is always seen as something favourable by employers, is it not? And we can get it easily, because we have the money and the right background, we have attended the right schools. The more attentive of us detect this rupture, this inconsistency in ideas and opinions that lies here. We take from others (those threats! Those foreign influences!) what we can use and benefit from, but in return we don't allow them the same freedom of choice we claim for ourselves. We shouldn't give people different rights depending on where they were born because that implies, that depending on your birthplace, you deserve freedom, or not.

Apart from that, to be honest, I don't believe in the idea that people should only be treated as means, as something to benefit from. Just like Immanuel Kant deeming in his `Critique of Practical Reason' that people should be seen as ends in themselves, people today should rethink their utilitarian attitude towards other people.

Everyone has dreams, the urge to develop and fulfil their goals. The immigration controls, in particular the new point based system, cuts off aspirations and completely denies the equality of people. It is a regulation supporting the ego trip of selected individuals, neither more nor less.

Worldwrite's film casts light on the reality of the situation, its approach skilfully combining history, current debates and the personal story of Sadhavi Sharma. The message has to get out there to give people an insight about what's really going on in today's society. It provides viewpoints seldom considered and really enables people to look past the usual conventions, to open their eyes to the truth.
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on 29 January 2005
What otherworldly power decides what films survive in the public mind decade after decade? And what films don't?
'The More the Merrier' is completely forgotten, although in its time, during WWII, it was a huge hit and was nominated for several of the most prestigious Academy Awards, Best Picture, Director, Leading Actress, Script etc. And deserved every one of those nominations. It is, simply a great film, that time forgot, and one that is finally out on DVD. And it remains a mystery how a sexy, sassy, down-to-earth and abundantly funny film such as this could ever be forgotten.
In the Washington of 1943, with the housing crisis brought on by the war, single working girl Jean Arthur feels compelled to do her bit and let out half of her apartment. Well-to do businessman Charles Coburn, who has arrived in town too early for a conference and cannot find a vacant hotel room, moves in with her, and, wanting to play Cupid, he sublets, unbeknownst to her, his half of half her apartment to a young soldier, Joel McCrea, on town on a mysterious purpose.
Rumour has it that Garson Kanin, of later 'Adam's Rib' fame, wrote the script for 'The More the Merrier', but never took credit. Whoever did it, the premise and even more so the execution of the plot is wonderfully crisp and superbly done. There is not one moment in this film that doesn't work on an extremely advanced level, and as sheer exuberant fun!
George Stevens, one of the truly great American directors, has titles such as 'Gunga Din', 'Penny Serenade', 'Woman of the Year', 'A Place in the Sun', 'Shane' and 'The Diary of Anne Frank' to his credit, and 'The More the Merrier' has won a place in that exalted category of masterpieces in all genres. It is obvious that Stevens got a kick out of directing his actors in this movie, creating a many-coloured carpet with all this apparently improvised dialogue, so magnificently stylish and at the same time with a looseness, a naturalness in structure that makes the movie feel like a slice of real life.
But of course real life was, almost, never as wonderful as this! Just imagine having known characters like the ones played by Miss Arthur and Mr McCrea, in one respect they are so typical and easily recognisable, and in another they are so immensely attractive, and not just in a physical sense, that you would want them for your best friends. In a strict Hollywood sense, try and imagine two more gorgeous people in the scene near the end when they, almost but not quite, make on a the quiet street where they share the apartment!
The film is great, no two ways about it. The transfer is not too good, quite a shame really, and there are no subtitles at all, not even English for the hearing-impaired.
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The More the Merrier sees Housing Committee member Charles Coburn renting half of Jean Arthur's apartment during the wartime housing shortage in Washington DC and then sub-letting half his half to Joel McCrea and subsequently engineering a romance between them. Later remade as Cary Grant's last film, Walk Don't Run, it wears its contrivances lightly and still holds up well six decades on, with many delightfully funny moments (especially a nightclub scene with McCrea beset by man-hungry women, much to Arthur's annoyance). Coburn's Oscar-winning performance is good enough for you to forgive his truly irritating habit of singing "Damn the torpedoes, full speed ahead" repeatedly on every occasion, providing most of the energy in a great double-act with McCrea, who underplays to perfection, while Jean Arthur never looked lovelier. The restored print is still missing a few frames and has the odd plop on the soundtrack but is otherwise of high quality.
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on 22 December 2000
Jean Arthur and Joel McCrea are typically fabulous in this wonderful comedy about a very strange flat share. The action drops off a little after Arthur and McCrea have declared their love for each other, but it's still a terrific movie.
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on 24 September 2013
Leisurely romantic comedy with would-be screwball elements which give way to 'walls of Jericho'- inspired moments as comic contrivances abound. The leads are fine. Joel McCrea's amiable, low-key persona works well against Jean Arthur's more erratically-characterised 'Constance'. Charles Coburn plays match-maker. There are one or two big laughs but the audience will probably find itself smiling for 90 minutes mostly. There are one or two misfires - Jean is asked to wail rather gratingly towards the end for instance, but she is lovingly photographed and Joel is always great in his way. Their highly charged ten minutes of 'struggling to keep their hands off one another' as Stevens manages to get them 'into bed together' divided only by the thinnest of walls is very clever and something of a 'code' breaker. Whilst it doesn't feel like a great comedy, it is harmless, never tedious Hollywood wartime movie making with some class.
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on 19 August 2015
I honestly love this movie! It isn't just fun, but it also has such great charm. I love George Stevens movies, and his comedies were something special. I love his dramas as well, but his comedies are so great. Woman of the Year is one of my favorite movies! And this is another favorite. Jean Arthur is the great talent that she is, always great. This is only one of the two movies that I ever saw with Joel McCrea, but hey, he's so handsome and he could sure play along with Jean Arthur. Cogburn is such a great character actor, he's so great in comedies too! Well, what more can you say than, a great war-time comedy? I loved it!
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on 4 November 2016
While I love romantic comedies from the Classic Era, as well as Stevens as director, and Arthur and McCrea as actors, and had high expectations for this, I still found it a bit forced. Character motivations weren't always understood, and there was little chemistry between the leads. Stevens rushed making this, as he was off to war.
However, I'll still give it four stars, as the copy itself was excellent, and the delivery service was quick, as it arrived well within schedule.
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on 18 June 2015
I'm grateful to my sister for recommending this movie to me. This item was well packaged, as described and arrived in a timely manner. Jean Arthur was one of the finest actresses of her day and she has the wonderful Charles Coburn to heap up the laughs as her co-star again (as in 'The Devil And Miss Jones').
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HALL OF FAMEon 25 February 2009
Was I ever wrong. For years I looked upon Charles Coburn as a fat, porcine old gentlemen who always had a big, wet-chewed cigar in his mouth. I was so awed by the cheesy melodrama of Kings Row that I barely noticed his startling performance as Dr. Gordon, the cruel, vindictive surgeon who made Drake McHugh cry out, "Where's the rest of me?" Then I saw The Lady Eve, and then The Devil and Miss Jones. And now, The More the Merrier. Not only could Coburn define surgery at its worst, I finally realized that he was one of the most subtle and skilled practitioners of high-class comedy. Coburn won the Academy Award for best supporting actor for his work in The More the Merrier. He could just as justifiably won it for Eve and Miss Jones. As good a movie as The More the Merrier is, and as good as Jean Arthur and Joel McCrea are, Charles Coburn as Benjamin Dingle, "a well-to-do retired millionaire," who turns out to be an uncommonly sly cupid, refocuses the movie every time he's on screen.

We're in the middle of WWII in Washington and housing is almost impossible to come by. Connie Milligan (Jean Arthur) places an ad for a roommate to share her two-bedroom flat. Benjamin Dingle (Coburn) is in town on business and without a hotel room. He spots the ad, bulls his way past a hoard of eager applicants and simply fast talks his way in. He notices that this attractive young woman seems to have a lonely life. In fact, she's engaged to a Washington bureaucrat as romantic as an officious waiter. It's not long before Dingle spots Joe Carter (Joel McCrea) looking for a room. Joe is tall and good-looking. Within minutes Dingle has subleased half of his subleased room to Joe. It won't be long before the three of them are falling over each other. But will Connie and Joe fall for each other? Dingle, with guile and good-intentions, is going to give it a try.

This could be as conventionally predictable as a Luci-Desi episode. Thanks to director George Stevens, a bright, funny script, and Arthur, McCrea and Coburn, it's anything but. The More the Merrier is a classy and funny romantic comedy that, especially in the first half, comes close at times to a classic Marx Brothers routine. It even helps at times to appreciate many of the situations as comedy routines, so highly polished by first-rate actors that the comedy pile-ups and split-second timing seem spontaneous. Let's see...for starters there's the "explaining the morning action plan with diagram" routine with Arthur and Coburn, the "who gets the bath, who gets the egg" routine with Coburn, Arthur and McCrea, the "where's my pants" routine with Coburn, the "Connie and Joe and the leather traveling bag" routine with Arthur and McCrea, and the "Who did you go with to the beach" routine with Arthur and McCrea. Sure, we have three actors playing cute...but if they ever appear that they're playing cute it won't be either cute or funny. Arthur and Coburn are experts at this kind of straight-faced, split-second community comedy, and McCrea, it turns out, is good at it, too.

As often as Jean Arthur in the Thirties and Forties had some excellent leading men to work with -- McCrea, Cary Grant, Gary Cooper, Charles Boyer, James Stewart and Ronald Colman among others -- it might just be that her perfect partner in comedy was Charles Coburn. They starred in three pictures together:
The Devil and Miss Jones in 1941, The More the Merrier in 1943 and The Impatient Years in 1944. Arthur was a strong, skilled actress who could be fey, puzzled, endearing, innocently romantic, completely natural, sexy and subtle. Her voice, instantly recognizable, helped define her screen persona. She could come across as vulnerable, but she more than held her own in her movies. I can't think of any movies she made after the mid-Thirties that weren't defined as "Jean Arthur movies." Coburn, old enough to be her grandfather, was so good an actor -- a comic actor when called upon -- that he managed to make a balance with her that is part of the mystery of why some actors click together and others don't. It's to his skill that he was able to make this connection with other actors as well. Just watch him in The Lady Eve share any scene with Barbara Stanwyck.

The More the Merrier is one of Hollywood's proudly sweet-natured romantic comedies, with a lot of fast-paced physical action thrown in. Even the sentimentality is amusing. The movie was remade in 1966 as Walk, Don't Run with Gary Grant, Samantha Egger and Jim Hutton. For lessons in how to turn a bright, clever romantic comedy into a plod, Cary Grant's last film, unfortunately, is the one to see.
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on 21 September 2015
did not play on any dvd players even the one that is multi region
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