Shumway’s article discusses the function of romance in screwball comedy as a way of “mystifying marriage.” The author uses writer Stanley Cavell’s Pursuits of Happiness, an analysis of screwball comedy, as a basis and then refutes his argument that screwball comedy enlightens audiences about marriage. Shumway argues that romance essentially contains an element of illusion in itself and this thus translates in screwball comedy, to an illusive view of marriage as well. The idea of illusion also stems from the relationship between romance and desire, which Shumway states is another reason why screwball comedies often involve the rich, for this wealthy world is almost like a false promise that results from romance and love, and functions to heighten desire.

One of the most interesting arguments that Shumway makes in this article is that screwball comedies tend to hint that complete desire and complete satisfaction are attainable and that this specific state is known as marriage. Shumway uses examples from It Happened One Night and The Philadelphia Story to demonstrate that in screwball comedies, even women become objects of desire for the men. What is essential in creating this mystified notion of marriage is ultimately dependent on how the audience views the relationship between the characters. Shumway argues that the classic generic elements of screwball, such as the fast-paced dialogue, functions as a sort of electrical attraction that can be sensed by the audience and hints at the blissful ending of marriage.

The second half of this article consists of a contrasting analysis of Desperately Seeking Susan which reverses a lot of the generic elements of screwball. Beginning with marriage, and ending in divorce, the film presents an alternative to marriage, which in this case is adultery. In this film, marriage is not shown as the culmination of desire, but rather, the failure of romance.

It is interesting however, that Shumway’s analysis does not seem to fit Bringing Up Baby exactly. Despite the implied marriage at the end, which is in a way, mystified by the romance between the two characters, there is also a very realistic view of marriage in the beginning of the film when Huxley is engaged to be married to Miss Swallow, a marriage that would definitely not be one of romance. This could probably be explained by Shumway as a contrast of a “failed” marriage and a successful marriage, to perhaps heighten the illusion of the successful marriage.