Some books tell us a lot. Some books delight us a lot. Quite often the two types don't intersect. By the happiest of circumstances, a book concerning the subject of films which delight is at once informative and as delightful as its subject. This is surely due to the fact that its author is a respected authority on the chosen subject and, quite obviously, he holds both passion and joy toward that subject.
"That subject" is the one to which the perfect and apt title refers: romantic comedy in the Hollywood studio system and, in that he references director-producer Ernst Lubitsch (the most sophisticated of film makers, certainly of those working in the comedy field, of that time or any) and writer-director Preston Sturges (eternally brash, smarty pants, satirical and not above some slapstick in his films) as the book ends of the era of which he writes.
That era includes the coming of sound, which marked a turning point for many things in the film world, among others, opening up the screen to the sharper, more naturalistic type of comedy of which this book is concerned. The author takes the reader through the early sound years, the more stable late thirties, and the war years and the time of its aftermath, at which point so many things commence to change in the cinematic world as a reflection of the tumultuous changes taking place in the world at large, which would sadly bring an end to this sub-genre, among other things. The rise and fall of these this lovely film movement is perfectly and compellingly encapsulated by the author in his detailing the careers of Lubitsch and Sturges, both riding high as director (and writer in Sturges' case) in the 1930s and into the 40s and then both hitting a wall in in the postwar years with early death arriving for one and a shocking and virtually complete career termination awaiting the other.
Despite some sad facts, this is a book of wonderful things, lovingly crafted studies of fine films (the still from 1938's classic, Oscar winning, The Awful Truth, which adorns the book jacket, is there for a good reason) and the people on both sides of the camera who contributed to their making. Though this will probably work best for those who know these films, actors, directors and writers but anyone with even a passing interest in the subject would surely feel the author's excitement and delight. One of the best things about this book is that the author is never negative nor cutting nor snide towards films nor personnel. He loves these works and their makers, and that is all too rare in the world of film studies (or the world, period). The fact that he truly, truly knows his subject and can write well doesn't hurt either.
One very nice bonus included in this book is a charming and very rare interview with the famed Golden Age actress Irene Dunne (star of, among others, The Awful Truth). The lady, in one of her last interviews (maybe THE last), isn't much in touch with the modern world (she wonders if the author's tape recorder can work in its case) but she has finely detailed and kind spirited memories of the time and place and films, making this a fitting coda to this book. ( )

This author is a wanker. He provides mostly plot summaries and completely lame analyses ( )