a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

The Lady Says No casts Joan Caulfield in a part that Katharine Hepburn would have taken one look at and rejected out of hand. Caulfield plays an early advocate of women's liberation and who authors a book where she tells her female readers many different ways to say 'no' to a man and make it stick. The woman is in some real danger of having that work all too well for her readers and herself.David Niven plays a Life Magazine photographer who's been all around the world and sampled females from many walks of life. He's assigned to do a feature photo story on Caulfield and the two of them start their antics of courtship which you know will only end one way. Back in 1951 it could only end one way with the Code in place.Speaking of the Code, this independent United Artist Release is the only kind of film the Breen Office might have been sloppy with the censoring. Otherwise no way a line like "with my trusty female native guide, I thrust myself into the interior of Borneo" could have made the cut. It was the biggest laugh in the film for me.David Niven could barely summon enough interest to be vaguely charming in this film. The Lady Says No was produced and for one time only directed by Frank Ross for his wife Joan Caulfield. Maybe the film might have rated a bit higher had a comedy specialist like Mitchell Leisen or George Marshall did the directing.In any event it's a dud and a waste of a talented cast.

Joan Caulfield and the cocksure, conceited Niven made the funny snappy screwball LADY SAYS NO, directed by Frank Ross; Niven is a photographer, Shelby, attracted to a young feminist authoress who turns into a willful woman and husband—snatcher—and then, the transformation of this babe as she opens herself to love. The womanizer Shelby sets himself up to conquering the blonde writer. The comic is often very unsubtle, but after seeing ETERNALLY YOURS—with the same Niven--, LADY SAYS NO looked like a marvel of fun (--that was a romance while this is a malicious sex comedy--). Basically well—paced, LADY SAYS NO is a watchable screwball and an anti—feminist satire, though quite witless ; it's better directed than written, the blonde does an average role. Niven, a meager but funnier Rathbone, has some brio as the sardonic seducer; but, even for himself, he looks awfully old and ugly, and with a rather constipated humor. The leading actress could be a bit uninspiring. Not more than 6/10.

Producer Frank Ross makes his only effort at directing with this feathery comedy, a vanity piece for his wife Joan Caulfield, wherein the lovely and customarily demure actress displays a widened working range disparate from her normal personae, playing here as Dorinda Hatch, feminist author of an anti-male best-seller who becomes unsettled when a rakish photographer for Life Magazine, Bill Shelby (David Niven), attempts to woo her through a sly method of blackmail. During a picture taking session for the periodical Dorinda does some mugging designed to put the impudent Shelby in his place, but the latter turns the tables on her by using a daft face made by the writer as the proof for an upcoming Life cover, refusing to give the negative to her unless she allows him to kiss her, an act leading to romantic complications that raise doubts as to the sincerity of Dorinda's feminist beliefs. The work has a simple storyline, with some fatuous scenes of slapstick, but roles are well-performed by all members of the cast, despite a great deal of predictability in the dialogue, Caulfield earning the acting laurels as she and Niven luff toward each other in romantic folly, and there are skillful turns from Henry Jones and Lenore Lonergan as a comedic pair still in love, although not without conflict. The action moves briskly with nary a break and producer/director Ross has assembled top-tier technicians to showcase Caulfield, among them James Wong Howe, cinematographer, and Orry-Kelly, costumer, in addition to production designer Perry Ferguson, and a terrific score is contributed by Arthur Lange to cap off this pleasant and humorous soufflé.

Ever wonder how those Julia Roberts or Meg Ryan films will look in years to come? LIke this empty headed flick. I'm not even sure what it was about! Niven was a photographer, Joan Caufield was some independent female who had to challenge him about a woman's independence. Huh? A photograph of her crossing her eyes and pulling a lock of her hair across her upper lip like a moustache was supposed to be embarrassing and he put it on the cover of a magazine. Really odd movie and such a waste of David Niven. I have seen him salvage other movies. Alas, this one he could not. The film was a showboat for Caufield, and she couldn't be more uninteresting if she tried. One very amusing moment was Niven having a dream about Caufield and she is dressed like Sheena of the Jungle in a leopard print one piece swimsuit. Very bohemian! Think of Madonna of '52. The wooden gyrations are laughable to begin with, but just before this scene, we're shown an unamed African American woman who was the towel girl (!) at the restaurant and her dancing to the band's music was priceless. This chick really cut loose! I thought it was tremendously odd that this woman was uncredited and danced so much more better than Caufield, and that her scene would precede Caufield's big dance moment. Avoid this flick at all costs, unless you are an overwhelming David Niven fan, as I am. This was not one of his best.