One of my all time favorites.

best movie i've ever seen.

Absolutely Brilliant!

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

In 1942 the United States had only just entered World War Two, with the people trying their best to come to terms with a conflict which three years previously had seemed like a remote European war, with little or no importance to them. This was the basis of the America First Movement, which flourished in the late Thirties.ONCE UPON A HONEYMOON was designed to influence public opinion by showing how much the Nazi colonization of Europe mattered to everyone in the world. The basic plot is straightforward: former showgirl Kathie O'Hara (aka Katherine Butt-Smith) (Ginger Rogers) is about to marry the Baron Franz von Luber (Walter Slezak) without realizing that he is a Nazi agent masquerading as an Austrian patriot. Campaigning journalist Pat O'Toole (Cary Grant), on an assignment to investigate O'Hara's past and present for American readers, acts as the voice of reason as he tries to set her right. The task proves impossible at first, but in a series of picaresque adventures in Poland, Czechoslovakia, and France, she comes to understand what a mistake she has made.Leo McCarey's film contains certain flabby moments - especially in a sequence ostensibly taking place in Paris, when O'Toole and O'Hara confess their love for one another. There are also some overt scenes of propaganda that interrupt the plot, especially when O'Hara encounters American spy Gaston le Blanc (Albert Dekker). On the credit side, however, there are some truly delightful comic sequences, no more so when Grant poses as O'Hara's dressmaker and tries to take her measurements. He makes every effort to avoid embarrassment, and by doing so ties himself into knots both physically and verbally. Grant and Rogers's playing of this sequence is masterly, with Rogers's deadpan countenance contrasting with Grant's facial contortions.Walter Slezak makes a convincing villain, his smooth, gentle exterior concealing a ruthless personality. He encounters O'Toole at a Paris café and backs the journalist into a corner: if O'Toole does not broadcast on the Nazi Party's behalf, then O'Hara's future cannot be guaranteed as she will be handed over to the Gestapo. Slezak's voice hardly rises above a whisper, yet the threat remains - despite his outwardly noble nature, O'Toole will have to submit to the Baron's wishes.ONCE UPON A HONEYMOON is certainly a period-piece, but it is still of interest, if only as an example of how versatile an actor Grant actually was, straddling the boundaries between comedy and straight drama with consummate ease.

This film is great because I love Cary Grant, but I was surprised that in 1942 people were making what appeared to be a comedy about Hitler. It seems similar to a comedy being made about Daesh now: the evil that is killing millions of people across Europe was being treated light-heartedly by US film makers in 1942. However, the sense of humour needed to fight a war of that nature probably helped everyone to focus their efforts to defeat the enemy. The characters of the Nazis seems almost humorous, Cary Grant and Ginger Rogers were their usual wonderful selves, and it was very light and enjoyable. I had to look at the date when it was made, in order to understand the context.

I quite disagree with many of the reviews here of this film. I'm very impressed, overall, with this story because it is an unusual mix of humor, drama, and tragedy. An early scene -- where Cary Grant and Ginger Rogers meet for the first time -- unique with uncanny humor and chemistry. Contrast that with the scene where the two are imprisoned with Jewish rabbis possibly heading for a concentration camp and singing their Jewish prayers, followed by a scene where it is subtly thought that Rogers could be sterilized.I'm not always a fan of old films that involve a little espionage as WWII breaks out. But this one is different. Here, Katie O'Hara (Ginger Rogers), an ex-American burlesque performer has landed an Austrian Baron (Walter Slezak) and is about to be married. An American news correspondent (Cary Grant) pretty much know that the Baron is a Nazi. After the marriage, Rogers begins to suspect that Grant's suspicions about the Baron are accurate. Rogers, with Grant's help, decides to flee Europe, but they are nearly sent to a concentration camp. An American double agent persuades Rogers to return to her marriage and temporarily work as a spy. The Baron becomes suspicious due to O'Hara's many questions, where early in their relationship she was quite content to ignore politics. Grant agrees to broadcast pro-Nazi propaganda -- which he plans to sabotage -- after the Baron threatens to turn Rogers over to the Gestapo. Rogers and Grant do escape, and board a ship for America, but guess who is also on board -- the Baron...heading for America to continue being subversive in the ultimate target -- the United States.Unfortunately, after the Baron is pushed overboard and drowns, the heretofore relatively dramatic movie turns almost slapstick as Grant's conscience makes him tell the captain that the Baron has fallen overboard, the ship is turned around, but then they decide the Baron couldn't swim and it must be too late. The ship heads back toward America. This very last section of film is just plain dumb, and the one serious miscalculation of the film (were it not for this I would have given it an "8".Grant here is wonderful, as he normally is. I've always thought as Rogers as a "good" actress, but she is better here than is typical. And, Walter Slezak does a fine job as the Baron. Few other actors are worth mention here, although Albert Dekker is quite good in his relatively brief, though key role. And, although you are unlikely to recognize him, John Banner -- much later Sergeant Schultz on Hogan's Heroes -- is a Nazi in the film.

This is truly an excellent film. It has everything-comedy, drama, tragedy and a vision of what the world was like in 1942. Let's remember that when the movie was probably being made, the U.S. had not entered the war as yet.It deals with a Brooklyn stripper from Parkside Ave. who lives in 1938 Austria and is about to be married to a high-ranking Nazi. Given her supposed limited intelligence, Ginger Rogers, as this gal, doesn't fully realize what she is getting into. She will be quickly educated by reporter Cary Grant, who is terrific in this role.Walter Slezak plays the heavy in the film and at first is successful in having Ms. Rogers believe that he is an anti-Nazi. No matter where the couple show up, the country soon falls victim to the Nazi terror.The plight of the Jewish people is shown by a maid and her 2 young children, all being Jewish, is helped by Rogers. The maid comes back later on to play a pivotal role when Rogers needs to escape. There is a scene where condemned Jews recite a Jewish prayer. How much more poignant can you get?There is constant intrigue in this film as you begin to wonder the true beliefs of someone who is helping Rogers, while getting her to spy for the allies.The ending may have been somewhat over-the-top, but it did provide for some comic relief to a subject that was very well handled here.