Watch She Married Her Boss For Free

Terrible acting, screenplay and direction.

Load of rubbish!!

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Julia(Claudette Colbert)is a very competent executive secretary for her busy department store manager boss Richard Barclay(Melvyn Douglas). For 6 years they've made a great team. For 6 years, Julia has been waiting for Richard to ask her to marry him. But, he's shown zero romantic interest in this gorgeous, brainy, woman. For one thing, seems he had a very bad experience with his ex-wife, and is shy about getting into another relationship. But when Julia gets a job offer in Paris at double salary, he's finally persuaded to marry her (with no wedding party frills) to avoid losing her help at the office. But, Julia has other ideas about what kind of life she wants as a married woman. She wants to be a pampered 'stay-at-home' wife and mother rather than continue the hectic life of a career woman.. At first, Richard argues against her idea. But when she's about to run off with a business associate, he gets drunk(along with the butler), and tells her she's going for a little ride(said with the suggestion of an ominous outcome). The drunk butler/chauffeur weaves through city traffic to a destination where they pick up a few bricks. She suggests they are going to weigh her down in a river drowning. Actually, they have another purpose for the bricks in the whirlwind finish, which I will let you find out for yourself. The majority of the humor relates to Richard's bratty half-grown daughter Annabel(Edith Fellows). At first, she hates Judith and her unfamiliar ways. But, eventually, she comes to love her, and cries when she says she's running off with another man who treats her more like a woman than a work associate. If you remember "Bright Eyes", with Shirley Temple, you will remember Jane Withers playing Shirley's very bratty playmate as being very similar to Annabel. However, Annabel has no playmate to vent her anger and tricks on, except her cute little dog, Fluffy. Richard's spinster sister, Gertrude(Katharine Alexander), who has been taking care of the house and Annabel has to get used to being second in command in the household. As an example of their sometimes conflicts, Gertrude pulls the drapes closed by day so the sun doesn't fade the carpets. Julia then opens the drapes, saying people need some sunshine, and drapes can eventually be replaced. It's clear that both Gertrude and Richard have been too soft on Annabel, and have no idea how to play with her to make her happy. Gertrude says she hopes the marriage will fail, as it leaves no role for her if Julia doesn't work outside the home.Raymond Walburn, the butler/chauffeur, usually played somewhat comical characters, his 'bug eyes' facilitating his often bumbling mannerisms.....Jean Dixon plays Julia's scheming friend.... It's a rare film including Claudette that I don't take a liking to. This one is not her best, but it's not bad. See it on YouTube. in B&W, of course.

The strongest female stars with the longest careers were those who combined dramatic roles with comedy or screwball ones. Irene Dunne managed it as did Claudette Colbert. For every "Imitation of Life" or "Private Worlds" there was a "It Happened One Night" or "The Gilded Lily". 1935 was a successful year for Claudette - she made the Motion Picture Herald's "Top 10 Money Makers of the Year" list and usurped Kay Francis' position as the best dressed actress in Hollywood.Julia Scott (Colbert) is a busy executive at the Barclay's Department Store. Being so efficient she runs the whole department without causing a kink in her permanent wave but most of her time is devoted to keeping her boss, Richard Barclay's (Melvyn Douglas) home running smoothly - even though she has never been there!! She gets her chance when she is asked to work overtime and realises the whole house is held to ransom by Annabelle (Edith Fellows), Richard's bratty (that's too mild a word) little daughter. Julia asks for complete authority for a couple of hours and at the end she has fired the servants, spanked Annabelle and made a friend of Parsons (Clara Kimball Young) the nanny.Then "she married her boss" and the comedy gets a bit more conventional as Julia has already put Robert's home life in order before they were married!!! The problem is Robert marries her thinking that she is not like other women - that she is efficient and practical, not womanly and needing love. But she has been secretly in love with him from the start and is dismayed that he wants her to continue in her executive position at the office when all she wants is to be a wife.Edith Fellows definitely showed that movie brats had more fun and for the first half hour she did - throwing major tantrums, going on a hunger strike and just being obnoxious but after Rita took to her with a hair brush, she suddenly became another movie darling - singing, reciting poems, with even a crying scene at the end!!! The movie was extremely fortuitous for Melvyn Douglas, whose career before this was at a low ebb. Columbia was finding it difficult to get a big enough star to bask in Claudette's shadow. Douglas brought to the role his quirky humor and Columbia was so pleased that they offered him a seven year contract and gave his career another kick start.

Sold as and considered a comedy, SHE MARRIED HER BOSS is actually a light-hearted "women's picture" with only occasional comic moments. Claudette Colbert stars as the executive secretary of department store owner Melvyn Douglas who has secretly been in love with him for seven years although he has never seen her as anything more than a very valuable assistant. Wealthy Douglas lives in a mansion with his frosty, hypochondriac sister Katherine Alexander and his bratty nine-year-old daughter Edith Fellows, product of his one unhappy marriage (it's never stated if Douglas was widowed or divorced but one presumes the latter given the hostile memories both he and Alexander have of his former wife).Claudette's moneyed pal Jean Dixon is appalled how she is wasting her youth pining for this uninterested man and tries to break her away from him and toward rival store owner Michael Bartlett. When Dixon informs Douglas that Claudette is quitting her job to work for Barlett (untrue), Douglas is desperate to keep her and learns part of the reason is her desire to someday marry, he proposes to a surprised Colbert who happily accepts (the scene is curiously not filmed) only to learn shortly after the marriage that it basically remains little more than a business relationship. Meanwhile Bartlett is not giving in even with Claudette now a married lady (after all he himself is still legally wed!) This is a pleasant film smoothly directed by Gregory LaCava but it really needed a rewrite and maybe revised casting. Claudette is perfection as always in this type of role but Douglas (whom often comes across as the "dull suitor who loses the girl" in the romantic comedies in which he is actually the "real love" in the picture) fails to show any hint of charm that might have bewitched her all these years although his poorly written character doesn't give him much to work with. The delightful comedienne Jean Dixon - so wonderful as the maid in La Cava's MY MAN GODFREY - is badly cast as Claudette's chic older, sardonic buddy in a part that cries for Helen Broderick. Edith Fellows, however, is terrific as one of the most realistic brats on screen in the 1930's, a pathological liar who talks back to adults and bullies dogs. Edith's scenes with Claudette as a no-nonsense but warm stepmother tries to reach out to her are extremely believable and sensational. It's also a pleasure to see Grayce Hale, usually cast in unbilled bits as fat and stupid women, given a fairly sizable supporting role as Claudette's assistant at the office that completely lacks the ridicule she usually is given on-screen. Katherine Alexander is acceptable as Douglas' sister and comedian Raymond Walburn (unrecognizable in his early middle-age from his best known period a decade later in movies) is for the most part excellent as the long-suffering butler.The movie has a shocking lapse of taste in it's use of drunk-driving (by Walburn) as "comedy" (in crowded city streets no less!!) although this may have been a period when the issue was not taken as seriously as it should have been. SHE MARRIED HER BOSS is definitely lesser Colbert but this is one actress who is always worth watching.

I've read the other comments that talked about aspects of this film that are dated, offensive, or just plain bizarre. I was rather surprised that no one brought up the movie's cringe-inducing gender stereotypes. Anyone who has seen Claudette Colbert or Melvyn Douglas in the films they made before the introduction of the Production Code(in mid-1934) would immediately recognize the heavy hand of the censors, who did their best to impose on Hollywood their narrow-minded idea of "family values." (On the basis of this film, it would appear that allowing married women to pursue a career would bring about the end of American society, but child abuse and drunk driving are just good clean fun!) Though the cast and plot look good on paper, the result is strained and uneven, as if the script had been written to Pre-Code standards and then hastily cleaned up so as not to offend the censors.Claudette Colbert plays Julia Scott, a bright, capable, and confident executive assistant at a large department store. She runs the busy office like a well-oiled machine and clearly enjoys the work. It's hard to fathom why she's spent six years mooning over her boss, Richard Barclay. The way the role of Barclay is written, the usually charming Melvyn Douglas comes off as a humorless, sexless cipher. All the more jarring, then, to hear Julia talk about her desire to give up her terrific job and marry Barclay. Without a trace of irony, she describes marriage as "a woman's REAL career." Okay, she wants to get married. But why on earth would the lovely and vivacious Julia want Barclay as a husband? Not only is he dull as ditch-water, he treats her as if she were a piece of super-efficient office equipment. Once they're married, he ridicules her for assuming the stereotypical role of housewife, despite the fact that she's set his chaotic home in order and tamed his obnoxious brat of a daughter. There's nothing in the movie to explain Barclay's eventual change of heart; apparently it's brought on by a quart of whiskey. So much for good old "family values." The film is so devoid of any hint of sexual attraction that we don't see a single cuddle or smooch--not even at the very end when it's clear that the newlyweds will finally get around to doing what newlyweds are famous for doing. Julia has more physical contact (and chemistry) with Leonard Rogers, her sweet-tempered playboy suitor, who's a lot more appealing as husband material than that cold fish Barclay.Solid performances are turned in by familiar actors in some of the secondary roles: Raymond Walburn as the perfect butler; Katherine Alexander as Barclay's drama-queen sister; Edith Fellows as the evil daughter; and especially Jean Dixon as Julia's wise-cracking, matchmaking best friend.Would love to have seen this film made just a year earlier, before the Hays Office started taking their moralizing hatchet to so many of the things that made movies of the 30s worth watching.