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One wonders how how Rogers can be the mother of a baby, yet hold a full-time job as a clerk. Apparently, her landlord is indulgent and likes to care of babies. Only in the movies do such things happen.
Since Rogers is beautiful, she must have a romance. In real life, this boyfriend would be a co-worker on her floor. But since this is a movie, her boyfriend is no less than David Niven, whose wealthy family owns the department store.
You may wonder, why would Niven pick the thirty-ish Rogers, burdened with a baby, when he could have a young hottie socialite from his own jet set? For good reason, as it turns out. Rogers is adorable, of course, and she's talented (who else could sing "We're in the Money" in Pig Latin with a straight face in one take, but you'll have to see Gold Diggers of 1933 for that trick).
But the real reason why Niven's hand is forced has to do with his father, Charles Coburn. Coburn already has everything that money can buy. Now he wants a grandson. And he has that, too, in Rogers' angelic tot, since he believes the suspiciously-behaving Niven is the father. And who knows, maybe he is, playboy that he is, although we know that Rogers is not the mother. The Production Code ensures it.
How others will see it. David Niven is young, and his comic timing and ability to make a fool out of himself is surprisingly good. Ginger Rogers is as winning as ever, and Charles Coburn plays his best character, the aged rascal. Frank Albertson is a go-getter jerk who is present mostly to move the story along.
Classic movie lovers will appreciate the cast, and forgive the more bogus elements of the story. The script is first rate for a comedy, and includes the following gem. Ginger Rogers is forced to explain the presence of a baby in her apartment to the nosy Albertson.
Rogers: "I got it for Christmas."
Albertson: "Oh. This Christmas, or last Christmas?"
How I felt about it. Bachelor Mother was an early attempt by Ginger Rogers to escape the popular but formulaic Fred Astaire musicals. In the short run, this proved successful, since she won a Best Actress Oscar for Kitty Foyle. In the long run, it also worked out, since three of her best movies (Monkey Business, Dreamboat, and The Band Wagon were released after 1949.
In between, during the mid-1940s, her career lagged, and there were probably times when she wished for a fat check from one of those Astaire vehicles where she was mad at him (although she found him amusing) throughout the whole movie, until in the final scene she decided she loved him after all.
It's certain she didn't regret leaving MGM and Fred Astair while making Bachelor Mother, since it's a great lead role. Rogers is as sympathetic as she virtuous and funny, no small feat. A generation later, another trouper, Doris Day, could only pull off two out of three. At best.