Considering that this was made in 1937, the special effects are amazingly well done throughout...and the fact that CARY GRANT is billed beneath CONSTANCE BENNETT in the credits is a reminder that this was made long before Grant emerged as a superstar.
But there's a stale quality to the whole screwball comedy that has ROLAND YOUNG as a henpecked husband of BILLIE BURKE who gets a chance at becoming less stuffy due to the machinations of two friendly spirits who were recently killed in a fancy sports car. That about sums up the plot--and nothing much happens that can be considered memorable--nor is it any kind of morality fable.
Interesting too is to note some of the key players among the supporting cast--Eugene Palette as a bumbling hotel detective, Arthur Lake (who became Dagwood Bumstead) as an equally bumbling hotel porter, Alan Mobray as a butler who sometimes forgets his place in society, and an uncredited Ward Bond who shows up in just about every film made in the '30s.
The art deco sets are very handsome and modern looking, but the whole film has the feel of a late night movie that's been shown too often to have any lasting effect now. As the two spirits, Constance Bennett is just a wee bit too frivolous to be believable as the ultimate playgirl and Cary Grant has little opportunity to be more than a decoy for Roland Young--who, in the title role, manages to steal the film from both of them. As his wife, Billie Burke is her usual fluttery self.
But there's a stale quality to the whole screwball comedy that has ROLAND YOUNG as a henpecked husband of BILLIE BURKE who gets a chance at becoming less stuffy due to the machinations of two friendly spirits who were recently killed in a fancy sports car. That about sums up the plot--and nothing much happens that can be considered memorable--nor is it any kind of morality fable.
Interesting too is to note some of the key players among the supporting cast--Eugene Palette as a bumbling hotel detective, Arthur Lake (who became Dagwood Bumstead) as an equally bumbling hotel porter, Alan Mobray as a butler who sometimes forgets his place in society, and an uncredited Ward Bond who shows up in just about every film made in the '30s.
The art deco sets are very handsome and modern looking, but the whole film has the feel of a late night movie that's been shown too often to have any lasting effect now. As the two spirits, Constance Bennett is just a wee bit too frivolous to be believable as the ultimate playgirl and Cary Grant has little opportunity to be more than a decoy for Roland Young--who, in the title role, manages to steal the film from both of them. As his wife, Billie Burke is her usual fluttery self.