I love screwball comedies! I have seen all of the movies dissected in this book, and love them all. I was looking forward to an interesting informative book about these great films. Instead, I got long dissertations on what the directors were thinking while they made these films. Being less than comfortable with the concept of the director as the true author of a film(after all, they did use screenwriters, often bringing in others, or even a team, to "punch-up" the script)it seems foolhardy to subscribe all the "Emersonian", "Darwinian", etc., themes to these films. When all is said and done, they are fast funny films, made to bring in the public and give them a good witty evening. This they accomplish with great gusto. For the most part, this book just made me tired. If you want to learn anything new about the films, watch them.

Maria Di Battista's look at the lively and complex women of '30s comedy is ultimately disappointing. While chapters on individual films are often interesting, the book contains much too much repetition (the first few chapters seem to consist of di Battista pointing out--over and over--that these were fast-talking dames), and Di Battista's argument suffers from her failure to provide much of a historical context. Worth a look if you have a strong interest in the field; if you're just beginning to read about it, try Elizabeth Kendall's *The Runaway Bride* (which provides a context for actresses, movies, and genre), James Harvey's *Romantic Comedy from Lubitsch to Sturges* (not as analytical as it might be, but positively majestic in scope), and Stanley Cavell's *Pursuits of Happiness* (aimed at academic readers).

This book discusses the role of women in film, particularly those women from the earlier years of film that were fast-talking and smart. This is a great record of how film tried to sneak intelligent women into their movies, even though society at the time dictated that women should be docile and silent.

A great analysis of women and their roles in United States history.