Is "Mr. and Mrs. Smith" the only pure comedy in Hitchcock's film career?

In 1941, Hitchcock had become a favorite in Hollywood, and every major studio wanted to sign a contract with him. And D·O·S would not give him up easily to others. RKO finally succeeded in inviting him to make this film. The hero behind it was none other than the heroine Carole Lombard. Lombard was Hitchcock who took his family to live in his villa before his family moved to the United States before they could find their own place to live. And she went to live with Clark Gable. Hitchcock not only wanted to repay the favor, but also because he particularly liked Lombard's personality. He said that she made people laugh when she told dirty jokes. He also said that he has only made two films passively for two women in his life, and this film is one of them.

Hitchcock said that he just followed the script and took it as a job. He had nothing to say about the film. When Truffaut interviewed him, when talking about the film, apart from the lace, the two of them had nothing to say. There is no intention to delve into the movie itself. The discussion about this film ended in half a page. Therefore, "Mr. and Mrs. Smith" is a work that is easily ignored by Hitchcock fans. Since Truffaut, who is Hitch's biggest fan, has little interest in it, there is obviously nothing to dig into. Hitchcock even asked Lombard to film one of the scenes. This scene was not simple. It was Hitch's signature "highlight" of playing a passerby. Hitch had never had such a harmonious relationship with a heroine. Lombard became his confidante. She wrote herself and the other two male protagonists on the butts of three horses in a stable next to the set. The name is meant to echo Hitchcock's statement that "actors are like animals." Is there really nothing to say about the film itself? Not so. The opening scene shows Mr. and Mrs. Smith staying locked up for three days. The two of them stayed in their bedroom and did not show up. They ignored the work of the office and just handed any documents through the crack in the door. I heard from the servant that this is a common thing, which shows that these two people really enjoy "playing house" as their first hobby in life. There is no scene of the two of them together in this scene, which shows that the couple are husband and wife when they go to bed, and they are enemies when they get out of bed. In fact, it was said that they were husband and wife, which was immediately proven to be incorrect. The plot arranges that their marriage is illegal due to geographical demarcation issues, and not only does Mr. Smith know about this, but his wife also knows about it immediately. And he thought she didn't know, and she thought he would propose immediately, and the story immediately entered a dramatic stage.

We see that Lombard’s waist is really too small, but the dress in the play is still designed to be broken by her, as if their marriage has changed. Lombard appeared cool in many scenes in the film. The scale was the limit of Hollywood movies in the early 1940s. Even in black and white, it looked sexy and touching. But Lombard's sex appeal was not that of Monroe, who was tall, thin, and fair. This is its characteristic. Of course, "thin" means "thin" in a way that is not skinny. It is bulging in places that should be bulging. Lombard's breasts are not stretched out. If you look closely, you can see that she is not wearing anything underneath.