The Major and the Minor 1942

As the fallout from Albert Osborne’s (Robert Benchley) unwelcome advances lingers, Susan Applegate (Ginger Rogers) takes a daring step to escape her life as a scalp massager in New York City. She decides to return to her modest roots in Stevenson, Iowa. At the train station, financial difficulties compel her to adopt a clever disguise: she becomes Su-Su, a seemingly innocent 12-year-old girl. However, when two suspicious conductors catch her red-handed with a smoke, Su-Su seeks refuge in the compartment of Major Philip Kirby (Ray Milland). Mistakenly believing her to be a frightened child, he allows her to stay with him until they reach their destination.

The train’s unexpected detour due to flooding leads to an unforeseen encounter with Philip’s fiancée, Pamela Hill ([Rita Johnson]), and her father, who commands the military academy where Philip teaches. Pamela boards the train and discovers Su-Su sleeping in the lower bunk. Jumping to the wrong conclusion, she suspects Philip of infidelity and hastily reports her findings to the authorities, only for him to clarify Su-Su’s true identity with a knowing smile.

Among those who see through Susan’s ruse is Lucy, Pamela’s sister, played by Diana Lynn ([diana-lynn]), a budding biologist. Recognizing an opportunity, Lucy persuades Susan to help her thwart Pamela’s plans to keep Philip at the academy, ensuring he won’t be reassigned to active duty. Disguising herself as Pamela, Susan makes a covert call to one of Pamela’s connections in Washington, D.C., successfully changing Philip’s military status.

Susan quickly becomes a favorite among the academy’s cadets, many of whom have invented a method for stealing kisses based on the fall of the Maginot Line. As Philip attempts to caution Susan against this behavior, he loses himself in a convoluted metaphor about lightbulbs and moths, eventually declaring that she will be a “knockout” one day.

As the academy’s dance draws near, Philip expresses his gratitude to Pamela for her support and reveals that he’ll soon be reporting for active duty. However, Pamela, withholding the truth of her involvement, declines to marry him on such short notice. Meanwhile, Cadet Clifford Osborne introduces Susan to his parents, inadvertently exposing her true identity to Pamela.

In a pivotal moment, Albert senior takes a while to remember their past interaction, but ultimately recognizes Susan, revealing her dual identities as both Su-Su and Susan Applegate. This revelation leaves Philip’s military career and Susan’s future in a precarious position. As Susan plans to meet Philip, Pamela intervenes, spinning a deceitful tale that only an unsuspecting suitor would believe. With Susan missing, Pamela threatens to ruin Philip’s reputation unless she disappears altogether. Desperate, Susan extracts a promise from Lucy to safeguard her true identity, cementing the need for secrecy.

Back in her hometown, Susan is preoccupied with thoughts of Philip, captivated by the moths dancing around the porch light. Her fiancé, Will Duffy (Richard Fiske), and her mother, Mrs. Applegate (Lela E. Rogers), both notice her distraction. When Philip calls, Susan pretends to be Su-Su’s mother, claiming her “daughter” is preoccupied with a school play – an alibi that is shaky at best. He shares his plans for active duty in San Diego along with a curious gift from Lucy: a frog, symbolizing innocence.

When Philip arrives at the Applegate home, he is struck by the striking resemblance between Susan and her mother. During their conversation, he divulges that Pamela has married someone else, leaving him vulnerable as he faces the chaos of war. He recounts a story about a fellow officer on the verge of a hasty marriage in Nevada, highlighting the emotional weight of imminent farewells.

Mrs. Applegate, wise and perceptive, reminds Philip that men going into battle shouldn’t wed, a reality Philip must now grapple with. As he stands at the train station, Susan appears at the far end of the platform, her name echoing promises of hope in his mind.

Approaching each other, Philip’s gaze – one impaired, one perfect – meets Susan’s, and a smile spreads across his face as realization dawns. He asks for her name, and she boldly declares herself as Susan Kathleen Applegate, a woman ready to marry a soldier if he chooses her. Her musings on the Fall of France display her firm belief in destiny.

As they linger on the edge of the platform, Philip’s gaze stays fixed on Susan, his uncertain eye flickering before he looks away. Their lips meet in a tender kiss, amid shouts of “Su-Su!” and “Come, Philip!” they race after the departing train, their futures now intertwined, glowing with promise and possibility.