With the possible exception of Margaret O'Brien, Joan Caulfield is Hollywood's most sexless female luminary. Whatever she lacks in personal appeal she also lacks in acting prowess and case in front of a camera, all of which makes her presence in "Welcome Stranger" highly depressing to Bing Crosby-Barry Fitzgerald purists. There is, however, enough of Crosby at his best to make the picture melodious and entertaining, while Fitzgerald commendably limits his concessions to quaintness, a restraint which keeps "Welcome Stranger," for the most part, from waxing mawkish.

It cannot be denied that a generic resemblance to "Going My Way" exists. Both Fitzgerald and Crosby have abandoned priestly robes for the simple garb of small-town doctors, but the relationship between the two remains roughly the same, progressing from initial distrust on Fitzgerald's part and disinterestedness on Crosby's to something approaching mutual adulation. To take another example, in "Going My Way" a big project was a foot to build a church for the old priest; in "Welcome Stranger," it's a hospital.

The difference between the two pictures lies more in the treatment of the theme than in the theme itself. A small-town setting encourages informality more than does a religious one, and correspondingly the picture takes itself very seriously, even in the dramatic scenes which, if unconvincing, at least are not dull. But it is in the lighter moments that "Welcome Stranger" is most at case. A square-dance called by Crosby makes a first-class musical number, and some scenes between him and the adolescent daughter of a drunkard come close to stealing the picture.

Unfortunately, the name of the young actress who plays the adolescent did not appear in letters large enough to attract the attention of this reviewer. Whoever she is she already has more personality, looks and dramatic ability than Joan Caulfield. Miss Caulfield gets Crosby at the end, but only on seniority.