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Made for Each Other

Made for Each Other

Comedy · Drama · Romance · 1939

A couple struggle to find happiness after a whirlwind courtship.

Movie details

Made for Each Other

“Heartbreak...!”

1939 Comedy · Drama · Romance 1h 32m

Critical arithmetic

The consensus, allegedly.

IMDb

6.2 / 10

4.2K votes

TMDB

6.1 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

A couple struggle to find happiness after a whirlwind courtship.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Made for Each Other?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Jake and Kristy Briggs are newlyweds. Being young, they are perhaps a bit unprepared for the full reality of marriage and all that it (and their parents) expect from them. Do they want babies? Their parents certainly want them to. Is married life all that there is? Things certainly aren't helped by Jake's friend Davis, who always seems to turn up just in time to put a spanner in the works.

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Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

John Cromwell

Written by

Jo Swerling · Rose Franken

Carole Lombard

Carole Lombard

Jane Mason

James Stewart

James Stewart

John Horace Mason

Charles Coburn

Charles Coburn

Joseph Doolittle

Lucile Watson

Lucile Watson

Harriet Mason

Eddie Quillan

Eddie Quillan

Conway

Alma Kruger

Alma Kruger

Sister Madeline

Irving Bacon

Irving Bacon

Newark Radio Operator (uncredited)

Court is in session

Put Made for Each Other on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.