Recommendation:

Cluny Brown, Lubitsch's 1946 film. More playing with forms so familiar that they can be stretched and parodied to ridiculous extremes. Here's the premise:

Lovely Cluny Brown (Jennifer Jones) is the niece of a London plumber; when her uncle is indisposed, Cluny rolls up her sleeves and takes a plumbing job at a society home, where she meets a handsome refugee Czech author (Charles Boyer). Hoping to cure her of her unladylike obsession with plumbing, Cluny Brown's uncle finds her a maid's position in a fancy country home, where she once more meets the Czech author, who is a house guest.

This is accurate, but it doesn't hint at the film's high silliness. Here's an exchange between two men in love with the same standoffish woman and commiserating:
__What are you going to do?
__I'll propose to her once or twice more, and then I'm washing my hands of her!

Many of the jokes revolve around the freedom to be outrageous rubbing against convention, and what happens when convention allows or requires one to be outrageous. It reminded me of Samuel Johnson:

It has been observed, I think, by Sir William Temple, and after him by almost every other writer, that England affords a greater variety of characters than the rest of the world. This is ascribed to the liberty prevailing amongst us, which gives every man the privilege of being wise or foolish his own way, and preserves him from the necessity of hypocrisy or the servility of imitation.

I had to root around in Johnson for a while to find that, and it occurred to me that "A Complete Vindication of the Licensers of the Stage" attempts the same kind of trick that Erasmus tried in In Praise of Folly, but is more successful (funnier, more coherent).

In fact it's brilliant, everyone should read it! I hope this link works.