“Who's that man, Mary?”

“That's a man who's going to spend the rest of his life in a phone booth.”

Deanna Durbin’s final film before walking away from Hollywood forever is as pleasant and charming a swan song as one could expect from a star so special that even passing this way only once, she will be remembered forever. For the Love of Mary is full of Deanna Durbin’s magic, turning something frivolous into something charming, something slight into something fun, and something a bit pedestrian into something memorable.

Deanna Durbin fans regard this as one of her best films, for it typifies that certain something she had both on-screen and in life that can no more be fully explored or explained than the moon and the stars. But it’s tangible here, as she carries this film with a magical charm only she had, turning a warm wind into a delightful breeze for the final time.

Frederick De Cordova, of Johnny Carson fame, directed this one nicely. William Daniels photographed both Deanna Durbin and Washington D.C. of the period beautifully. Durbin and a fine cast doing the rest, turning an unfairly maligned story from Oscar Brodney into a real winner. Perry Mason fans will get a kick out of seeing Ray Collins, who portrayed Lt. Tragg for years, as the President’s top man, Harvey Elwood. Harry Davenport is fun as Supreme Court Justice Peabody, as is Hugo Hass as immigrant Gustav, and Grief Barnett as Mary’s dad. Her suitors include Edmond O'Brien as Navy Lt. Tom Farrington, Jeffery Lynn as attorney Phillip Manning, and Don Taylor as David Paxton, a man obsessed with fish. All lend excellent support to a lighter than air atmosphere. This one is filled with romantic mixups brought about when White House switchboard operator Mary Peppertree gets some unwanted help with her love life from the President.

Everything is wrapped up in splendid fashion, but not before Deanna gets to sing a lovely rendition of On Moonlight Bay, and acts out an entire opera for Taylor which leads to an unexpected swim. The Canadian songbird who had one of the finest voices to ever grace the screen is in fine form as always. Cinematographer William Daniels gives some of the scenes a romantic glow no film this slight probably deserves, but that is part of its charm. Marvelous fun, and a nice way for Durbin to say goodbye to a town that didn’t deserve her. ( )