Ja, das ist der Aspekt, der mich an Leisens Filmen interessiert. Mark Rappaport schrieb mal:
Most Hollywood films see the relationship between men and women as a Battle of the Sexes, something to be won or lost, with men and women fundamentally different and basically incompatible. Even so-called proto-feminist films like George Stevens’ Woman of the Year (1942) and George Cukor’s Adam’s Rib (1949) clearly enjoy presenting the spectacle of an intelligent, sophisticated woman (in both cases played by Katharine Hepburn) taken down a few pegs before she is worthy of the less sophisticated, more down-to-earth man (played in both films by Spencer Tracy). What is unusual about Leisen’s movies, which are almost all about the see-sawing relationships between men and women, is how equal both partners are even when they are from different social strata – and they always are – and how fluid the role-playing is in the relationship. In Leisen’s very generous universe there is no room for steel-jawed, testosterone-driven egotists like John Wayne and Clark Gable or self-sufficient, take-no-prisoners gorgons like Bette Davis and Joan Crawford. Everyone gradually learns how to change and make themselves over in order to find love.
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I'm making jokes for single digits now.