ushing away from work at the Keetoosen National Bank in Ohio, Chris Price (Richard Foran) and his wife Mary (Claudette Colbert) head to New York for two weeks, to celebrate their second honeymoon. But just before they can depart, Chris’ old friend Joe Parker (Don Ameche), who enjoyed success as a renowned, globetrotting, foreign correspondent and reporter for “The Morning Gazette,” drops in for a visit. He’s the kind of pal who only shows up when he’s in a jam, and here he’s certainly in a fix. In an attempt to garner some vacation time, Joe tells his boss he’s getting married. But after expensive wedding gifts, a house in New Delhi, and letters to the fake bride, Parker hurriedly hands off a picture of Mary, thinking nothing of the ruse.

Sure enough, boss Mr. Arthur Worth (Charles Dingle) demands that Parker bring his wife to New York for a meeting and to present a journalism award from Paulson University. Joe follows the couple to the train station and manages to take Chris’ place, persuading Mary to play the part for a brief time. But when a Cleveland newspaper publishes a photograph of Parker and his “wife” accepting the honor, Price’s bank is targeted for auditing with a potential censure on the rise.

The premise is delightfully silly, making use of the pleasantly routine scheme of switching roles and filling in – quite innocently – for a momentary scam. But the plot quickly becomes more complicated when Joe and Mary are stuck in their untruths, thanks to some unwelcome publicity and too many introductions with influential businessmen. In addition, snooping acquaintances, double entendres, covering up for lies, falsified information escalating rapidly, disguises, and chance encounters with familiar faces cause all sorts of chaotic confusions. The gags are mostly effective, though a shoe salesman desperate to prove Mary’s true identity, following them from one partying venue to the next (repeatedly stuck under tables hoping to glimpse her slippers), is a bit much for the sake of moderately believable circumstances.

“No matter how you try and explain this, Chris, it’s a scandal,” exclaims the bank director, who worries about what citizens will think of an organization run by a wife-sharing beguiler. In order to protect Joe’s reputation, Mary and Chris must sustain the delicate arrangement, even after they’re reunited. Associates and colleagues continue to misinterpret the situation, quite understandably, keeping the married couple apart – all while a house detective and a powerful newspaperman threaten to ruin social prestige. As the scenario becomes more complex, Mary sets about intentionally interfering with Joe’s relationships as a somewhat skewed revenge, turning the tables on the man who destroyed her honeymoon plans.

Joe’s girl Susan (Wilma Francis) is toyed with, right alongside Worth, setting up a few nicely batty screwball sequences. But these are overtaken by some serious dialogue and Colbert’s sudden shift in attitude towards the game they’re playing – initiated by Susan’s erroneous judgment of Mary. It’s actually a refreshing approach to the typical male personas that coerce the easily persuaded leading ladies into accommodative schemes – here, allowing the conversely strongly compelling Mary to control the state of affairs. The downfall to “Guest Wife” is in the pacing, which designs several scenes to run too long, building humorously uncomfortable interactions that slow the rate of successful gimmicks. In the end, appearing as if it isn’t entirely sure which direction to pursue, the film ends on a surprisingly uncommon romantic pairing.

– Mike Massie