Absolutely brilliant

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Director: NORMAN FOSTER. Screenplay: Nat Perrin. Additional dialogue: Roland Kibbee. Story: Devery Freeman. Photography: Joseph Walker. Film editor: Charles Nelson. Art director: Carl Anderson. Set decorator: William Kiernan. Costumes: Jean Louis. Make-up: Fred Phillips. Hair styles: Helen Hunt. Music composed by Werner R. Heymann, directed by Morris W. Stoloff. Assistant director: Sam Nelson. Sound recording: George Cooper. Western Electric Sound System. Producer: Buddy Adler.Copyright 16 November 1949 by Columbia Pictures Corp. No New York opening. U.S. release: December 1949. U.K. release: 10 April 1950. Australian release: 30 March 1950. 7,920 feet. 88 minutes.SYNOPSIS: Rosalind Russell is the judge-to-be, Robert Cummings her ex-husband who wants her back, Gig Young a playboy type that Russell is successfully using to bait Cummings.COMMENT: Robert Cummings certainly wins his spurs on this one as a "light comedian". Bob mugs, grimaces and pratfalls his way through a lot of frantic action before he finally wins the day (and the lady). If you like Mr Cummings (I don't mind him), you'll doubly enjoy the extra cornball efforts he brings to his role here. If you can't stand Cummings, avoid this film at all costs. You have been warned.Russell and Young do well by the main supporting slots, but it is young Marie McDonald who will attract most attention. Exquisitely costumed, Miss McDonald's only failure - and it's not her fault - is that her role is so intermittent. She keeps popping in and out of the action. We wish she would stay put for longer, before Cummings hustles her into the inevitable clothes closet.Despite some obvious process screen effects, the film is sound technically: The photography's glossy, the music score witty, the sets and costumes appropriately glamorous, whilst Foster's competent if none too subtle direction gets the most out of Perrin's amusing script. In short, this judge found it a most entertaining tale.

one from many romantic comedies from the 40's . not extraordinary but nice. and lovely for the seductive performance of Robert Cummings. a film about true love and the situations who transforms it in project. absurd in many scenes, lovely at all, it is the genre of film who seems be open window to a past period. because it has the innocence, the great, the flavor of lost age. Rosalind Russell could be the only challenge for viewer. because it is only a decent option for the role of judge but her rhythm is very different by Cummings' and that gives some fake nuances to the story. an inspired presence - Harry Davenport in a small role. short, a lovely movie. from the heart decade of a magnificent period for cinema.

Tell It To The Judge finds Rosalind Russell cast once again as career woman, in this case a lawyer about to be made a federal judge through the machinations of her grandfather Harry Davenport. But Senator Thurston Hall is questioning her character on the grounds of a messy divorce. Shows you how old fashioned this film has become and how terribly dated.Her ex-husband wants her back and Bob Cummings as the ex does get her back, kind of, sort of. But after that it all gets kind of wild as she uses Gig Young as a foil against Cummings and Bob keeps getting in trouble trying to hide witness Marie McDonald in one of his cases because Bob is a lawyer as well.What director Norman Foster did well with were some great supporting player performances from a cast of seasoned Hollywood professionals. I think the two most memorable are Clem Bevans as a lighthouse keeper with a side contract from Cupid and Douglass Dumbrille as Cummings playboy client. That one was really a case of reverse casting because Dumbrille is best known for playing slick villains, but I wish there had been more of him as the merry making playboy.Tell It To The Judge is certainly dated, but while it's not Rosalind Russell's best her fans will not be disappointed.

Rosalind Russell is the Judge in "Tell it to the Judge," a 1949 film also starring Bob Cummings, Marie McDonald and Gig Young. Russell plays Marsha Meredith, a recently divorced woman up for a judgeship, encouraged in her career by her judge grandfather (Harry Davenport). The ex-husband, however, Pete Webb (Cummings) wants her back. The two are still in love. The divorce was basically a misunderstanding - Webb was working with a beautiful blond witness (McDonald) and Marsha mistook it for something else. Even though it puts her career in jeopardy, Marsha remarries Pete. On their wedding night, her grandfather kidnaps Pete so that Marsha thinks he's up to his old tricks. She then takes off and announces to the press that she's married to someone else, and makes up a name. When Alexander (Gig Young), a man she met previously appears, she has him play the part of her husband.This is a typical screwball comedy centering around the struggle that the independent woman has between being a career person and a wife - and apparently back then, it was one or the other. I thought Russell was fine as Marsha, unlike another reviewer - I've seen her miscast, and I didn't think she was this time - but I agree with another remark the poster made, that Bob Cummings steals the movie. Cummings is thought of as a bland film actor, and perhaps he was. What made him a tremendous television star was his sense of comedy, which he didn't get to use much in films but which was his strength. Here he gets to show it off, and a few years later, he made his mark in television.A fun movie, not earth-shattering, as films were going through a difficult transition. So apparently were women, and in the '40s, they lost the career battle, only to pick it up again a couple of decades later.