Mr. Deeds Goes to Town" to take over the fortune of a mangled madcap uncle, and when the town learns of the twenty million dollars, the town comes to Mr. Deeds. Gary Cooper succeeds once again in delineating that gawky, boyish bashfulness that entrances even Marlene Dietrich. However shining a badge of genuineness such behavior may be outside of the movies, simplicity and naviete impart an unquestionable worth to a movie person.

"Mr. Deeds" has extraordinarily high entertainment value, perhaps because the humor springs from so many diverse sources. There are the familiar escapades of a young man's first bender: Gary, dressed in alcoholic simplicity, feeds doughnuts to appreciative horses. Then there is Gary's irrepressible exuberence; he jumps on hurtling fire engines, and wields his homicidal right whenever he is sufficiently annoyed. There is a travesty on the legal profession, and the lawyers, choice victims ever since Plato's time, take another merry trouncing. There is a mirthful experiment in indoor reverberation and a comical discourse on abnormal psychology, debunking the almost proverbial specialist from Vienna. And, as a final endearing gesture, Mr. Cooper takes a crack at the money-changers, and dabbles in amateur Communism. And every bit of this widespread appeal manages to click.

Jean Arthur does a good job as the unsuspected adder in Gary's bosom, who exposes him to the merciless Manhattan derision. It is only when Jean breaks out in court with her self-effacing apologies that Gary lets himself fly into his grand flaying splurge.

"Snowed Under," with George Brent and Genevieve Tobin, succeeds too eminently in being silly to merit any attention here. But to this snobby dismissal it is only fair to add that some people enjoyed it.