Stranded by a thick London fog late one evening and desperate for a place to stay, Leslie Steele, a young, pretty but madcap socialite, quietly barges her way into a hotel suite occupied by Everard Logan, a handsome but distant lawyer who specializes in divorce cases. He promptly registers one objection after another, but all of his efforts to evict Leslie are to no avail. He thus agrees to a compromise, allowing her use of the bedroom, while he takes another room in the same suite. However, at breakfast the next morning, Logan changes his tune regarding Ms. Steele and insists they must meet again. But while he's out of the room, dressing, she mysteriously bolts for home, which she shares with her grandfather/judge. The zany, impulsive Ms. Steele tells her grandfather she intends to marry Lawyer Logan. To her surprise, she learns that Logan will be presenting a case in her grandfather's court that day, so she attends the proceeding to observe Logan in action -- and to her further surprise, sees him mercilessly rip to shreds a womanaccused of adultery. As Leslie and Everard spend the rest of the film struggling to adjust to each other's whims and differences, a subplot involving Lord Mere, one of Logan's clients, is interwoven into the complicated plot-line. A confusion of identities ensues, as at one point, Logan is led to mistakenly believe that Leslie is actually Lord Mere's wife. But after a weekend fox hunt at the lord's manor, all conflicts are satisfactorily explained away, and the two lovers are reconciled. In fact, by the story's end, Leslie has successfully transformed Everard from the inhumane, hostile, woman-browbeating counselor she witnessed earlier in the film into a more empathetic, understanding, sensitive courtroom-interrogator of "the gentle sex".
The reviewer for Variety wrote, "Alexander Korda’s Technicolored comedy is rich, smart entertainment," and also praised the acting: "Oberon impresses. Olivier does his role pretty well, retarded somewhat by an annoying bit of pouting business. Two key performances which sparkle are those of Ralph Richardson and Morton Selten." whereas more recently, Leonard Maltin called the film a "Cute but extremely dated screwball comedy,"; and the Radio Times found the whole thing "quite amusing...in a daft and inconsequential way."
