Powerful

The best films of this genre always show a path and provide a takeaway for being a better person.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

First, the good news. A really first-rate pressing of this hard-to- find-a-decent-copy movie is available in the extra-cheap "Hollywood Comedy Legends" set. And now the bad news: Despite the efforts of a first-rate cast, the film is somewhat disappointing and I'm really surprised that Lubitsch regarded the movie with such affection. True, he had a really first-rate roster of players, although all of them (no doubt on Lubitsch's instructions) tend to over-act, especially Burgess Meredith.It's also true that the movie's screenplay presents some good comedy ideas, but they are played to death. We keep waiting for that famed Lubitsch touch, but it never really happens. The film comes across more like a photographed stage play that has been spun out to Three Acts purely for the purpose of giving audiences a run for their money. True, the director takes care to keep things moving, even when the players are not doing or saying anything really amusing, but it's simply not enough to keep audience interest at a high level.

Suffering from hiccups and insomnia, beautiful Manhattan socialite Merle Oberon (as Jill) feels neglected by successful insurance peddling husband Melvyn Douglas (as Larry Baker). While seeing psychoanalyst Alan Mowbray (as Vengard), Ms. Oberon meets fellow patient Burgess Meredith (as Alexander Sebastian), a troubled pianist. As Oberon and Mr. Meredith grow closer, Mr. Douglas tries "reverse psychology" to win back his wife. Meanwhile, secretary Eve Arden (as Sally Aikens) may move in on Douglas.This lesser Ernst Lubitsch offering was a re-make of the director's silent "Kiss Me Again" (1925), which made the critically polled "Film Daily" and "Motion Picture" magazine's annual year's best lists. Unfortunately, the original is presently a "lost" film. "That Uncertain Feeling" was a letdown after "Ninotchka" (1939) and "The Shop Around the Corner" (1940). But, it's definitely not awful. Douglas is in good form, particularly during the last act. Oberon wears some sexy outfits, especially during the early running.****** That Uncertain Feeling (4/17/41) Ernst Lubitsch ~ Merle Oberon, Melvyn Douglas, Burgess Meredith, Eve Arden

Merle Oberon and Melvyn Douglas deal with "That Uncertain Feeling," a 1941 Ernst Lubitsch film based on a Sardou play. It's actually a remake of a silent Lubitsch, "Kiss Me Again." The film also stars Burgess Meredith and Eve Arden.Jill Baker (Oberon) is married to a successful businessman, Larry Baker (Douglas), but after six years, the bloom is off the rose. She goes to a psychiatrist, where, in the waiting room, she meets an opinionated pianist, Alexander Sebastian (Meredith), who introduces her to the world of art and music. She becomes fascinated with the world of culture and with him. Before you know it, Oberon and Douglas are divorcing, and Oberon and Meredith become engaged.The best scene occurs in the divorce attorney's office, when the secretary, Sally (Eve Arden) is asked to take a letter. In reality, she's supposed to witness Larry slapping Jill to help them get their divorce.There are some nice things in this film, including the bright performances of the leads, particularly the beautiful Oberon, whose presence shone in many a film.All in all, a disappointing Lubitsch, but Oberon's charm is quite special and always worth seeing.

I love the films of Ernst Lubitsch. Most are classics and I can't think of a single director in Hollywood who was making better films during the 1930s. This being said, I certainly did not love THAT UNCERTAIN FEELING and his fans would hardly recognize this as a film of the great romantic-comedy director. Most of the problem lies in the script, as the characters are generally unlikable, their motivation seems confusing and almost non-existent and the film often tries too hard to be kooky. The usual "Lubitsch touch", which is very subtle, just isn't there.Merle Oberon plays a petulant and annoying lady. She's rich and has every reason to be happy. However, being too rich, too bored and too self-involved, she decides she needs to spice up her "dull marriage" by bringing another man into her life. This man is a pianist over-played by Burgess Meredith. He is a misanthropic pianist--a person so conceited and cynical that it's hard to imagine anyone putting up with him. Unlike Mischa Auer's charming loafer from MY MAN GODFREY, Meredith played a man who was thoroughly unlikable. Oberon seemed to find the demanding and nasty Meredith fun, though everyone else felt he was just a jerk--and he certainly was.Now at first you really feel sorry for Oberon's husband (played by Melvin Douglas). Later, however, you wonder if he's an idiot because he still wants Oberon back when their marriage naturally begins to fizzle. After all, she deliberately flaunted her new "friend" in front of her husband because she felt bored and petulant. I enjoyed seeing Douglas punch Meredith on two occasions but also felt that perhaps he owed Oberon's character a couple as well! Heck, had it been me, I'd have thrown her out (possibly through a window) and not looked back. So, what we have is a film is about infidelity and you can't like the characters--hardly a topic for a Lubitsch comedy. While it seems that Oberon never actually gets around to sleeping with Meredith, her lack of regard for her husband made me hate the film. Selfish Oberon and unimaginably rude Meredith--two characters that kill a comedy or romance.