Three years into their loving marriage, with two infant daughters at home in Los Angeles, Nicholas Arden and Ellen Wagstaff Arden are on a plane that goes down in the South Pacific. Although most passengers manage to survive the incident, Ellen presumably perishes when swept off her lifeboat, her body never recovered. Fast forward five years. Nicholas, wanting to move on with his life, has Ellen declared legally dead. Part of that moving on includes getting remarried, this time to a young woman named Bianca Steele, who, for their honeymoon, he plans to take to the same Monterrey resort where he and Ellen spent their honeymoon. On that very same day, Ellen is dropped off in Los Angeles by the Navy, who rescued her from the South Pacific island where she was stranded for the past five years. She asks the Navy not to publicize her rescue nor notify Nicholas as she wants to do so herself.
Three years into their loving marriage, with two infant daughters at home in Los Angeles, Nicholas Arden and Ellen Wagstaff Arden are on a plane that goes down in the South Pacific. Although most passengers manage to survive the incident, Ellen presumably perishes when swept off her lifeboat, her body never recovered. Fast forward five years. Nicholas, wanting to move on with his life, has Ellen declared legally dead. Part of that moving on includes getting remarried, this time to a young woman named Bianca Steele, who, for their honeymoon, he plans to take to the same Monterrey resort where he and Ellen spent their honeymoon. On that very same day, Ellen is dropped off in Los Angeles by the Navy, who rescued her from the South Pacific island where she was stranded for the past five years. She asks the Navy not to publicize her rescue nor notify Nicholas as she wants to do so herself.
The film's central conflict revolves around a farcical domestic situation concerning marriage and identity, focusing on apolitical themes of personal relationships and comedic misunderstandings. While the resolution restores a traditional family structure, this serves as a conventional plot device for a romantic comedy rather than an explicit ideological statement.
The film features a predominantly white cast, consistent with the typical casting practices of its production era. Its narrative focuses on comedic situations and romantic entanglements, without engaging in explicit social commentary or critique of traditional identities.
The film "Move Over, Darling" is a romantic comedy from 1963 that does not feature any identifiable LGBTQ+ characters or themes. Its narrative focuses exclusively on heterosexual relationships and comedic situations arising from a presumed death and remarriage.
The movie does not contain any action or adventure elements.
The film "Move Over, Darling" is a remake of "My Favorite Wife" (1940). All primary characters in the 1963 version retain the same gender as their counterparts in the original film.
This film is a remake of "My Favorite Wife" (1940). A review of the main characters and their portrayals in both films, as well as the historical context, reveals no instances where a character's established race was changed.
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