‘The Major and the Minor’: A Girl, a Ruse, and a ‘Major’ Problem

Major Philip Kirby (Ray Milland) and Susan Applegate (Ginger Rogers), in “The Major and the Minor.” Paramount Pictures

NR | 1h 40m | Screwball Comedy, Romance | 1942

Sometimes I wish the screwball comedies of old would make a comeback. Their ability to instantly hook audiences with whirlwind antics and delightfully absurd narratives gives them a kinetic energy not unlike a great action film.

Just as a well-executed chase or explosive set piece can grab hold of a viewer, screwball comedies rely on sharp timing, escalating chaos, and quick-witted dialogue to keep audiences engaged from the very first scene. They move with a momentum that feels almost effortless, yet behind that breezy exterior is a masterful sense of control.

Billy Wilder’s journey to Hollywood was anything but straightforward. He started as a writer in Germany, but as the Nazi party rose to prominence, he was forced to flee, eventually making his way to America. There, he built a reputation as a sharp-witted screenwriter, often working with Charles Brackett to craft some of the era’s most memorable scripts.

Susan Applegate (Ginger Rogers), in her young girl “Su-Su” disguise, in “The Major and the Minor.” Paramount Pictures

Watching other directors mishandle his work frustrated Wilder. He knew comedy thrived on timing, precision, and rhythm—things that couldn’t be left to chance. Determined to take control, he convinced the studios to let him direct, proving that the same keen instincts that made his scripts sparkle could translate to the director’s chair. From there, he honed his ability to balance rapid-fire dialogue, absurd situations, and just the right touch of sentiment, ensuring his films felt fast, fresh, and never aimless.

That directorial finesse is on full display in “The Major and the Minor,” Wilder’s first solo Hollywood outing behind the camera. Like any great screwball comedy, the film combines a ridiculous premise with over-the-top antics. Susan Applegate (Ginger Rogers) is a small-town girl who moved to the big city chasing dreams of success. She soon found herself worn down by an endless cycle of terrible jobs and unwanted attention.

Fed up, Susan decides to head back home. But when she can’t afford a full-price ticket, she disguises herself as a child to pay the half-fare. What follows is a madcap series of misunderstandings, close calls, and comedic complications, all handled with the kind of effortless confidence that would come to define Wilder’s career.

Absurdly Humorous from the Start

Susan Applegate (Ginger Rogers) runs into Major Philip Kirby (Ray Milland), in “The Major and the Minor.” Paramount Pictures

The film wastes no time establishing its comedic rhythm, blending sharp wit with slapstick absurdity. Susan’s ill-fated scalp massaging job is a prime example. What should be a harmless gig quickly spirals into chaos when she finds herself fending off the advances of a lecherous married man. His persistence, coupled with a heavy-handed attempt to get her to drink, pushes Susan to her limit.

Rather than endure the indignity any longer, she quits in spectacular fashion, delivering a well-placed egg to his face before storming out, dealing a similar blow to an equally lewd elevator attendant on her way. It’s an early glimpse of the film’s unflappable heroine: resourceful, quick-tempered, and unwilling to play the victim.

Once Susan adopts her childish disguise, the film leans fully into its comedic potential. The suspense of her ruse constantly teetering on the edge of exposure creates a steady rhythm of humor, as she dodges suspicion with a mix of improvisation and sheer dumb luck. Every interaction becomes a balancing act between maintaining the act and suppressing her natural adult instincts.

Some of the funniest moments arise when she accidentally slips, uttering phrases or reacting in ways no actual 12-year-old would, only to hastily backpedal into even more ridiculous cover stories.

Susan Applegate (Ginger Rogers) pretends to be a young girl “Su-Su,” in “The Major and the Minor.” Paramount Pictures

Deft Direction and Performances

Wilder’s fast-paced writing and direction pairs well with his stars’ sublime acting performances. For instance, in one particularly clever sequence, Susan sneaks out of a train car to grab a quick smoke break, momentarily dropping the act to indulge in an adult habit.

But when two nosy train attendants spot her, she’s forced into a desperate, last-second escape. Thinking fast, she ducks into a cabin, only to land in the company of Army Major Philip Kirby (Ray Milland), which sets the stage for the film’s central relationship. Her growing feelings for Kirby complicate matters, but the film keeps things light and witty, never veering into uncomfortable territory.

What makes this screwball comedy stand out is its portrayal of honorable men. Unlike the overly lusty men Susan fled in New York, Kirby treats “Su-Su” (her younger nickname) with kindness, integrity, and a protective nature rooted in decency, not control. It’s a refreshing reminder that real masculinity is about strength paired with virtue.

Meanwhile, Wilder’s deft direction ensures the film stays breezy and sharp, proving that comedy doesn’t need crassness to be effective.

“The Major and the Minor” remains a relatively innocent, cleverly executed classic that celebrates both wit and genuine character.

“The Major and the Minor” is available on the Criterion Channel and Archive.org

‘The Major and the Minor’ Director: Billy Wilder Starring: Ginger Rogers, Ray Milland, Rita Johnson Not Rated Running Time: 1 hour, 40 minutes Release Date: Sept. 16, 1942 Rated: 4 stars out of 5

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