TAKE HER, SHE’S MINE, a carbon-dated ‘changing morals of the day’ comedy, circa 1963, with James Stewart and Sandra Dee. Stewart re-teamed with director Henry Koster and screenwriter Nunnally Johnson, who’d crafted his Mr. Hobbs Takes A Vacation, a winner the previous year. Johnson adapted from the play written by Henry & Phoebe Ephron, with Dee based on their daughter Nora.

Pacific Palisades lawyer ‘Frank Michaelson’ (Jimmy, 54) becomes alarmed when his teenage daughter ‘Mollie’ (Dee, 20) heads off to college, first back East, then to Paris, and begins to awaken to the fads and frolics of the early 60s. His little girl has grown up and Frank has a hard time accepting it. Sit-in’s, pop art, a French boyfriend—what parental perils are this New Frontier jazz reaping?

So dated it curdles, this one works to the mild degree it does thanks to Stewart’s impeccable comic timing and well-honed range of expressions. The emerging Jerry Goldsmith provides a bouncy score. Those who recall the era will get smiles from some veterans in the cast—Robert Morley, John McGiver, Bob Denver (still with his ‘Maynard Krebs’ beard)—and can pick out a slew of soon-to-be familiar faces in small roles and fleeting bit parts. But it’s nowhere near the fun of Mr. Hobbs Takes A Vacation. Reviews were lame, yet the enduring popularity of Stewart and the publicity windstorm around likable Dee saw that it reached spot #30 for the year, with $9,300,000 grosses against a cost of $2,435,000.

98 quaint minutes, with Audrey Meadows, Philippe Forquet, Cynthia Pepper (Kissin’ Cousins), Irene Tsu, Maurice Marsac, Jenny Maxwell (Blue Hawaii), Charles Robinson, Jim Nabors (32, feature debut),David Winters (‘A-rab’ from West Side Story), Eddie Quillan, James Brolin (22, feature debut), Michael Blodgett.