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[380] John Belton explained that "James Stewart evolves from the naive, small-town, populist hero of Frank Capra's 1930s comedies to the bitter, anxiety-ridden, vengeance-obsessed cowboy in Anthony Mann's 1950s Westerns and the disturbed voyeur and sexual fetishist in Alfred Hitchcock's 1950s suspense thrillers." [381] During his postwar career, Stewart usually avoided appearing in comedies, Harvey and Take Her, She's Mine being exceptions

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The race to hold on to an identity being fragmented by technology, imagined so hauntingly in Eternal Sunshine of the Spotless Mind , is pure genre formula here, which isnt to say its not fun