While his name is usually associated with the lavish, detailed melodramas that defined an entire generation, Douglas Sirk was far more versatile than contemporary perceptions would have you believe – and for those of us who are at all agnostic to some of his more popular works like Imitation of Life and All That Heaven Allows, it’s encouraging to know that he often experimented with other genres, proving to be a far more diverse filmmaker than we may expect. It may be a peculiar choice, but a personal favourite has always been Has Anybody Seen My Gal?, the esteemed director’s attempt at an effervescent, charming romantic comedy. Set in the 1920s, the premise is effortlessly simple: a grouchy millionaire decides that he wants to leave his fortune to the family of the girl he loved when he was a much younger man since her rejection of his romantic proposal ultimately was the catalyst for his desire to pursue the wealth he would eventually acquire, and considering his career prevented him from having a family of his own, it only seems appropriate that the estate goes to the people who inadvertently made his riches possible. What follows is a hilarious and heartfelt comedy in which our protagonist makes his way to their small New England town, and integrates himself into their lives, and in a matter of only weeks finds himself becoming part of this family. Written by the prolific journeyman screenwriter Joseph Hoffman (who was known for producing works at a staggering pace), whose words Sirk brings to life with charm and precision, Has Anybody Seen My Gal? is an absolute delight, an upbeat and eccentric comedy with a lot of heart and soul, and a few genuinely brilliant ideas that make it one of the most compelling comedies of an era in which they were rarely in short supply – and armed with a strong concept, a brilliant cast and a genuine affection for the material, Sirk makes a truly triumphant work that is both hilarious and meaningful, something that feels like an even bigger achievement when we realize its underlying complexity.

For Sirk, the art of simplicity was always the modus operandi when it came to making films. His work was defined by genuine, earnest emotions that may have been quite dramatic, but were never anything other than thoroughly authentic in every conceivable way. Even when making a comedy, he employed the same principle, at least to a certain extent. There is nothing in this film that could be misconstrued as being too heavy-handed or complex, with the entire production being designed as an upbeat, lovable experience that takes some bold swings, but in a manner that is sophisticated and never overwrought. Has Anybody Seen My Gal? is a comedy that sets out to satirize the class differences, a subject that was being widely explored in Hollywood in the post-war era. Suddenly, this catastrophic global conflict had proved that everyone is on an even keel and that the divisions that separate the different classes are far less superficial. This would have been an effective approach in just about any context (and the most wonderful aspect of this story is that it is timeless – it doesn’t depend on a specific milieu or setting to make an impression), but the decision to set it in the year 1928 is immediately a signal that we should look slightly deeper than the surface. Taking place only a year before the economic crash that brought on the Great Depression, the film makes a concerted effort to look at the concept of social structure and how money defines one’s place within it, which is as arbitrary a criterion as any other. It may take some time for us to recognize the satirical elements since the film mainly takes the form of a more simple, upbeat comedy-of-manners, but we soon find the layers beginning to emerge, creating a story that takes many different ideas into account, even those that were not entirely popular at the time. The reason this film will likely resonate with viewers today is that we can apply so much of this film to a lot of contemporary issues, and it remains relevant in a way that feels quite rare for the era in which it was made.

The idea of something so outrageously funny and eccentric coming from a director known more for his stoic, complex perspective on the human condition may seem strange in theory, but there is far less dissonance than one would imagine once we see exactly how this film takes on these ideas. Despite it being a comedy, there are several defining traits that we have come to expect from Sirk, who crafts this film with the same tenderness and soul as he did those melodramas that would come to define his entire career. His sensibilities may lean towards the dramatic, and we certainly see evidence that he was far more comfortable with a more quiet approach to storytelling, but this didn’t preclude him from being able to cobble together a genuinely fantastic comedy. Instead of abandoning his style, he chooses to adopt it, and as a result, we see many of the same traits that persist throughout his work being present here. In addition to its strong sense of social awareness, Has Anybody Seen My Gal? is a film about the importance of human connections. If you step away from the humour, we find that the film has quite a melancholy storyline – an old man, entering what he knows to be the final chapter of his life, decides that the only people worthy of getting his wealth after his death are the family of the woman who broke his heart so immensely, he was never able to start a family of his own, and instead dedicated his entire life to accumulating immense wealth, only to discover that he didn’t have anyone who would benefit from it once he passes. There is a lot of humour added to the premise, but this is a very sad story in theory and one that Sirk works to reconfigure into a motivational, heartwarming fable about family and making connections. Life is very short, but our legacy lives on, and this film shows the importance of establishing a strong foundation onto which your influence can be asserted, since mortal success means absolutely nothing if there isn’t something that stays behind once you are gone, even if it is just having made changes in the lives of others.

Has Anybody Seen My Gal? serves to be an early work for both Piper Laurie and Rock Hudson – they had both appeared on screen before, but in mostly small supporting roles or as promising co-leads to more established stars. You would imagine based on how this film was marketed that it would centre around them, but it was far more of an ensemble effort, with Charles Coburn being the de facto lead. Putting aside the personal politics that has made him one of the most disappointing figures of the era in terms of his private beliefs, Coburn was a terrific actor, and this is one of his very best performances. He is effortlessly funny and brings so much wit and nuance to an otherwise one-dimensional role. His ability to capture our attention on screen is incredible, and he commands the film with incredible dedication, enough to hold our focus for considerable periods. The film works precisely because of his spirited performance, as well as his ability to work in conjunction with the rest of the cast. Laurie and Hudson are just as terrific, even if they disappear for lengthy amounts of time. Neither are playing roles that are much different from those that they would play at their peak, with Laurie the innocent young ingenue and Hudson the dashingly handsome love interest, but they bring a lot of honesty to their performances. The entire ensemble functions extremely well – even the young Gigi Perreau proves that child actors can be compelling without needing to be precocious, her lovely portrayal of the free-spirited youngest daughter being a highlight of the film, especially since a lot of the story is built on her friendship with Coburn, which is perhaps the most charming storyline. As a whole, Has Anybody Seen My Gal? benefits from some exceptional performances – and if you watch carefully, there is even a brief appearance from a very young, pre-fame James Dean, who has a terrific moment with Coburn that is one of the many tremendous sequences in a film that is filled to the brim with them.

The sign of a great comedy is the ability to feel timeless, and despite not being considered one of the more defining works of the era, Has Anybody Seen My Gal? remains one of the most delightful and heartwarming films produced at the time, and is ripe for rediscovery by those who may not have known of its existence, or merely disregarded it as inconsequential trifle. None of that is true, since what this film achieves is a rare feat of balancing comedy and drama in a way that is honest, forthright and genuinely very moving, while also being outrageously funny where possible. There’s something very tender and compelling about a film that can accomplish so much with so little – and with a director as assured and singular in his vision as Sirk at the helm, there’s something truly lovely about how this film operates. The cast is tremendous, and they all work together in tandem to create something truly extraordinary and extremely moving, which can come as a surprise to those who expected just a quaint, inconsequential comedy without any depth. It’s a truly wonderful film with a strong sense of humour a lot of heart, and more than enough layers to satisfy those who want something slightly more complex without having to resort to some dense, overly heavy-handed drama when there’s a perfectly sufficient and entertaining comedy that offers us a lovely story with an abundance of charm and humour, enough to maintain our attention and keep us invested in this simp,e but effective story.