Thirty Day Princess (1934) User Reviews

Two-Faced Princess

[lugonian · 6/10 · 16 August 2002]

THIRTY DAY PRINCESS (Paramount, 1934), directed by Marion Gering, is a lighthearted comedy starring Sylvia Sidney as Princess Catterina of Taronia coming to New York City to seal a loan for her homeland. Upon her arrival by ship, she acquires the mumps and is unable to create favorable public opinion for a proposed bond issue. Richard M. Gresham (Edward Arnold), a financial banker for her father, King Anotol (Henry Stephenson), whom he met earlier taking a mud bath, hires detectives to locate a substitute. They find one in Nancy Lane (Sylvia Sidney), a Idaho farm girl struggling to find work as a stage actress, who happens to be an exact double of the stricken princess. While impersonating the princess, Nancy meets Porter Madison II (Cary Grant), a newspaper publisher for the Star Express who, at first, is against Gresham's granting a large foreign loan, but has a change of heart when he becomes very much interested in the "princess," who turns out to be engaged to the bumbling Prince Basseria Nicholeus (Vince Barnett). Subsequent merry mix-ups add to the simple fun of the story.

What's rare about this seldom revived comedy is that it's Sylvia Sidney's only opportunity on screen in both comedy and assuming a dual role. Usually type-cast as a poor working girl struggling to fight the Depression, or a hard-luck girl in love with the wrong type of guy, THIRTY DAY PRINCESS is a welcome change of pace for Sidney, who handles this comedic assignment quite well. A pity she didn't do more comedies, even in the "screwball" genre of the mid thirties. THIRTY DAY PRINCESS marked Sidney's third and final opportunity appearing opposite Cary Grant, their best known collaboration being MADAME BUTTERFLY (Paramount, 1932), also directed by Marion Gering.

The supporting cast includes Lucien Littlefield (Parker); George Baxter (Donald Spottswood); Edgar Norton (The Baron); and Robert McWade (The Managing Editor). Preston Sturges, a future comedy director for Paramount in the 1940s, is credited for the screenplay.

THIRTY DAY PRINCESS has some bright comedic moments, many belonging to Sidney, including one where she does her own impersonation of Nancy as a sassy, gum-chewing secretary; and where impersonator Nancy Lane comes face to face with her look-alike princess, offering movie-goers two Sylvia Sidney's for the price of one.

Not quite on the hilarious side, but confidentially, a cute comedy that holds up quite satisfactory for 73 minutes. Even though it's not as well known as other comedies from this era, it's still worth viewing for the presence of Sidney and Grant, each succeeding in making THIRTY DAY PRINCESS to appear both original and entertaining fun. Never distributed to home video, availability has turned up in 2006 in the DVD format as a Cary Grant double feature package along with Paramount's other forgotten comedy, KISS AND MAKE-UP (1934), and broadcast on cable television's Turner Classic Movies (TCM premiere: August 7, 2020). (**1/2)

Thoroughly charming depression-era comedy

[robb_772 · 8/10 · 12 December 2006]

A thoroughly winning little depression-era romantic comedy, THIRTY DAY PRINCESS manages to turn it's fairly routine storyline into a fresh and engaging picture that entertains throughout it's entire runtime. The plot has the Princess of the imaginary country Taronia (Sylvia Sidney) touring the US as an ambassador for her financially struggling country, with the hope of securing a major loan from the US. Upon arrival, our unfortunate Princess is stricken with the mumps, and is replaced by a look-alike actress (also played by Sidney), who doubles the ill Princess until she filly recovers. Complicating matters, however, is an ambitious news executive (Cary Grant), who is skeptical of the US approving such a large loan and wants to get to know out titular princess first hand.

As evidenced by the summary above, the film's plot was flimsy and formulaic even by the standards of the mid-thirties, but the picture manages to surprise viewers by using such an overly-familiar plot device as a springboard for sharp dialogue and delightful, fully-realized performances. Any film of this nature is almost entirely dependent upon its lead performer, and Sylvia Sidney handles her dual role with utter conviction, truly convincing viewers that she is two completely different characters. There is also an irresistible chemistry between Sidney and the young Cary Grant, who offers flashes of the brilliant actor he would soon become. In the end, the film manages to escape its well-worn premise and emerge as a genuine delight as one of the more underrated comedies of the thirties.

A different Sturges take on "The Lady Eve" premise

[duke1029 · 8/10 · 6 December 2006]

"Thirty Day Princess" can easily fit into the oeuvre of master comedy writer Preston Sturges although this film predates his 1940 directorial debut by six years. The basic comic premise of one woman impersonating two very different people on opposite ends of the social scale (while convincing the man she's romantically involved with that they are different people) is difficult material to bring off. Within that context Sturges inserts his unique satiric sensibilities on sex and social mores.

Sylvia Sydney, like Barbara Stanwyck seven years later in Sturges' wildly successful "The Lady Eve," succeeds admirably in using accent and mannerisms to distinguish the two characters. Additionall, both talented actresses have the chameleon-like ability to actually look different in both roles without resorting to any major make-up changes. Unfortunately, Cary Grant, at this stage of his career, had not as yet developed his screen persona to a degree that he could capture as much of the Sturges zaniness that Henry Fonda did in the 1941 film.

While Sidney is portraying two completely different people in "Thirty Day Princes," the audience in "The Lady Eve" knows that Barbara Stanwyck's character is essentially playing two different facets of her own personality. so the similarities in her two roles are dramatically plausible. Although it is highly improbable that Sidney's characters, Nancy Lane and Princess Catterina, could look so much alike under ordinary circumstances, Sturges inserts a sly bit of covert sexual innuendo at the film's climax with a subtle dialogue exchange between Nancy and King Anatole suggesting that she possibly is the King's illegitimate daughter, illegitimately sired during a previous trip to America. Sturges was a master at getting questionable material like this discreetly past the censors of his day.

Stealing the show, however, is character actor Vince Barnett, usually assigned to play low level gangsters and bumbling waiters, as Catterina's obnoxiously infantile fiancé, Prince Nicholeus. He delivers a hilarious performance, alternating accents from Mittel-English Ruritanian to Brooklynese. Considering Sturgis' loyalty to eccentric character actors during his heyday at Paramount, it seems unusual that he would not have written additional roles for Barnett in his series of screwball comedies in the early 40's as Barnett did occasionally turn up in Paramount films like Bob Hope's 1942 MY FAVORITE BLONDE.

gee, who knew Sylvia Sidney was ever that young

[blanche-2 · 6/10 · 31 December 2011]

Sylvia Sidney stars with Cary Grant in Thirty Day Princess, a 1934 film directed by Marion Gering with a script by Preston Sturges and others. The movie also features Edward Arnold and Henry Stephenson.

Arnold plays Richard Gresham, a banker who wants to float a $50 million loan to the small country of Taronia, but in order to have the public look favorably upon it, he wants the King's daughter, Princess Catterina (Sidney), to do a tour of the United States, talk about her country, and get the press to like her. Unfortunately, when Catterina arrives, she comes down with the mumps and will be out of commission for a month. Gresham launches a search for a lookalike and eventually hires a poverty-stricken actress, Nancy Lane (Sidney) for the role. At her first reception, Nancy meets Gresham's nemesis, newspaper publisher Porter Madison III, who is against the loan. Do I have to tell you what happens? Right, he and Nancy fall for one another.

Very cute, light comedy with this unusual romantic and dual role for Sidney, who for some reason played poor women a lot. My generation knew Sidney as an older and old woman, and Sidney was one who didn't seem to fool around with plastic surgery. Her distinctive smoker's voice and her wonderful acting lifted many a TV show. Here, in some scenes, she actually reminds me of Gene Tierney! She looks lovely and wears the princess' gowns beautifully.

Sidney plays well with the handsome (and also very young) Grant, who was her costar in Madam Butterfly. Grant's iconic persona was not yet developed; for a time, he had the usual leading man roles. He acquits himself beautifully. Entertainment Weekly named him the #7 greatest film star of all time. To me, he was, and always will be, #1. Few actors had the longevity of popularity and good taste in roles and films he chose to do, and no one had his style.

Very enjoyable film, and great to see these stars so young and fresh.

Thirty Charming Days

[Michael_Elliott · 15 March 2017]

Thirty Day Princess (1934)

*** (out of 4)

A banker (Edward Arnold) talks Princess Catterina (Sylvia Sidney) into visiting America so that she can get a loan for the poor people of her country. Once there she falls ill so the banker comes up with a scheme to find a look-a-like to take her place. He finds actress Nancy Lane (Sidney) who is told of the job and one thing she must do is pull the job over on a newspaper owner (Cary Grant).

THIRTY DAY PRINCESS isn't a masterpiece but it's certainly a very fun and very entertaining little gem that should probably be better known among film buffs than it actually is. You'd think with Sidney and Grant as well as the screenplay being co-written by Preston Sturges that it would be better remembered today but for some reason it has pretty much slipped away.

That's really too bad because there are some pretty good moments throughout the film including a wonderful performance by Sidney. She basically plays two different roles here and I thought she did a great job with both of them. I really loved the charm she brought to her characters and especially that innocence laugh she has as the Princess. I really thought she did a fabulous job at making the Grant character fall in love with her because the viewer too falls in love! The supporting cast is good too with Arnold playing a the bad guy with ease and Grant is also fun in a somewhat fast-talking role. Henry Stephenson doesn't appear in too much of the film but when he's on the screen he's great too.

There are some logical issues with the film but that there is to be expected in this type of spoof. Director Marion Gering does a nice job at keeping the film running at a nice pace and he manages to get some nice laughs throughout. With that said, there's no question that it's the cast and especially Sidney that make this film so memorable and fans of her will really want to check it out.

A Deal Made in Mud

[bkoganbing · 6/10 · 3 September 2010]

Although Thirty Day Princess is part of a recently released early Cary Grant collection on DVD, it is actually a film in which Sylvia Sidney stars and gets her turn at a dual role. In both parts Sylvia acquits herself well indeed.

King Henry Stephenson of the Balkan country of Taronia and international banker Edward Arnold meet in a mud-bath at a European resort spa. The king negotiates a loan with Arnold to be paid with bonds, but who to sell the bonds? It is agreed that the princess and heir to the throne Sylvia Sidney will undertake a goodwill tour of the USA to sell those bonds.

But right at the beginning of the tour, the princess develops the mumps and is quarantined for thirty days. A dead ringer actress also played by Sidney is hired by Arnold to step in.

Newspaper publisher Cary Grant doesn't like Arnold or bankers in general on principle. Remember this is the Depression and the New Deal was taking shape. He investigates the situation personally, but starts falling for the princess who he knows is out of his class. But Sidney who is a down and out actress who will be giving up her role like Cinderella shortly knows that the wealthy Grant is out of her's.

How all this gets resolved is what you see Thirty Day Princess for. It is primarily a show for Sylvia Sidney though a young Cary Grant has some good scenes for himself there. He was not yet a movie legend, but gave every indication of becoming one.

Roman Holiday, thirties style!

[1930s_Time_Machine · 7/10 · 12 March 2024]

A witty romantic comedy about a newspaper man and a princess - no, not ROMAN HOLIDAY, something just as classy and if you're more a 30s movie fan than a 50s movie fan, like me you might find this better.

This is not one of those awful cute and sickly sugar coated Ruritanean comedies which were common in the thirties. Surprisingly it's a smart, cleverly written grown up fun film. I'm not saying it's a biting political or social satire - no, it's a silly, silly story but it's one of those really well made films which still work today.

Every time you find a film directed by Paramount's unsung genius Mr Marion Gering, you find a near perfect piece of entertainment. He wasn't quite top table maybe because he didn't have a particular discernible style but he never failed to make near masterpieces - like this.

In the hands a lesser director this could have been utter tripe. After all: 1. The story is absurd but Gering makes it utterly compelling. 2. Cary Grant's output at this time was hardly notable but he's as good as he ever was in this. 3. You initially think that Claudette Colbert should have been the princess rather than miserable Sylvia Sidney but Gering turns her into the perfect comedy actress.

You might think that this sounds very familiar and that you've seen this type of thing a dozen times before. But don't dismiss this, it's not just another 'also ran.' In terms of writing, acting and production and definitely in terms of humour, this is a cut above the rest. We're not quite at IT HAPPENED ONE NIGHT levels but we're pretty close.......and more entertaining than ROMAN HOLIDAY.

rushed job

[SnoopyStyle · 6/10 · 8 August 2020]

Taronian princess Catterina (Sylvia Sidney) is sent to America to gain financing for her poor country. Upon arriving, the princess falls ill with the mumps. Desperate banker Richard Gresham comes up with an unusual solution. He tells numerous investigators that the princess had run away and refuses to answer to her own name. He hopes to find a doppelganger to replace the princess. He offers poor struggling actress Nancy Lane $10k to impersonate her. Rich newspaper publisher Porter Madison III (Cary Grant) opposes the deal.

I like the premise and I like the machine-gun dialogue which is obviously written by Preston Sturges. It has Cary Grant but he wasn't quite Cary Grant at the time. He's not given much to do. Porter falls for the princess too fast and too easy. They are lacking a meet cute. The chemistry is rushed. I'm not saying that it's impossible. These are two beautiful human beings. Love at first sight is meant for people like them but they don't have the time to build up. It's a rushed job.

ordinary girl gets her day in the spotlight

[ksf-2 · 7/10 · 27 December 2022]

This film has two things that the people of 1934 sorely needed: a feel good love story, and cary grant! With sylvia sidney (got above the title billing), eddie arnold and henry stephenson. When king anatol wants to improve the living conditions for his people, he works out a deal with gresham, the banker. But when the princess is too sick to travel, gresham finds a look-a-like to take her place. And of course, the actress falls for madison. Complications, misunderstsandings, as the old friends of the actress think they have figured things out. Can they keep the secret until the princess goes back to her own country? And can they ever explain things to madison? It's a fun adventure, as an ordinary girl gets to be princess for thirty days. Directed by marion gering. Sidney, grant, and gering had made "madam butterfly" together, just prior to this. It's always interesting to see a screenplay by preston sturges, story by clarence kelland. It's fun to watch, as plain jane gets to be princess for a short time.

Typecasting Can Be a Curse to Natural Tragediennes!

[joe-pearce-1 · 8/10 · 8 August 2020]

I've always loved Sylvia Sidney. I started going to the movies the year her last leading lady performance (LOVE FROM A STRANGER) was made, but I didn't see it then and it was only in revivals in the 1950s and occasional showings of some of her 1930s films on TV that I discovered her. I was amazed at how good she was even when only 21 or 22 years of age, and I thought she was just about the prettiest actress in the world at the time. Problem is, time didn't treat that prettiness too well, and when you saw her after the age of, say, 45 or so, it was hard to see even a trace of that prettiness. No problem, though, for she was a great actress and, I think with proper allowances in casting, she might today be one of the true legends of Hollywood's 1930s era. Well, we'll just have to settle for talent. I'm writing this, though, to say that one is never too old to learn. Although Sidney could be hilariously tough and ballsy in her later years, I had not known she had ever made even one comedy in her starring Hollywood years. And now, after 70-plus years of rather intense movie watching, I have finally seen THIRTY DAY PRINCESS, with a performance by her that is all charm and fun and light and prettiness personified. I can't imagine anyone, not even Colbert or Lombard or Stanwyck, could have done it any better. Truly, I have had her so associated with tragedy and poverty and murder and all the other good things of Hollywood Melodramatic Life, that I kept expecting someone to stab her or toss her down a flight of stairs, but nobody ever did. So, I learned that Sylvia could do comedy at a time when just about nobody would let her, and I am a better-informed movie-lover for it today. As for the film itself, she and Cary Grant and Edward Arnold give it exactly what it needs, and it should be far better known today than it is. She was a wonderful actress and, lest I forget to say it one more time, so damned pretty - not beautiful, just so damned pretty.

Cary Grant Gets Discouraged Playing Same Roles With No Substance for Paramount Pictures

[springfieldrental · 7/10 · 15 March 2023]

Cary Grant was discouraged with the roles he was assigned by Paramount Pictures. A case in point was May 1934's "Thirty Day Princess." He set out early in his film career to be the epitome of masculine glamour. But his parts after 15 movies were becoming repetitive. In this film, actress Sylvia Sidney plays a duo role of a princess of a small European country who's in the United States to drum up interest for a sizable loan for her kingdom. She also plays an unemployed actress, Nancy Lane, who looks just like the princess. The Royal highness becomes sick early on in her travels and Nancy is hired to secretly take her place. Grant plays a newspaper publisher who becomes smitten with whom he thinks is a princess. The two begin a love affair, but Nancy fails to tell him the truth. This is the only time Sylvia ever played in a comedic role.

"Thirty Day Princess," in spite of being a unique light-hearted rom-com, received reviews that were lukewarm. Grant was stung by some of the criticisms, where he felt his parts were requiring him to do little more than spend most of his time in formal white ties and tails. So upset at the roles he was assigned, he demanded from Paramount the ability to select his own parts. The studio basically ignored his requests. But things would turn for the better in the next year for Grant when Paramount loaned out the disgruntled actor to other studios. It was there that Grant began receiving more substantial roles.

Charming, thoroughly enjoyable comedy against Depression background

[trpdean · 8/10 · 1 October 2007]

I liked this movie far more than expected - it's a quite funny mistaken identity kind of film - with the requisite newspapermen, wealthy men, princesses, romance that any Depression era comedy relish. I had some concern about the always serious Sylvia Sidney in a comedy - but her intelligence is just wonderful in the line readings - she's quite an actress.

Cary Grant is very young - and not quite as deft and light as in later years - but fine, not clunky at all.

Edward Arnold is thoroughly enjoyable in the kind of role he was born to play - the plutocrat. I particularly enjoyed the amusing discussion (hard to imagine in a film now) with the king of the necessary size for the bond issue for Taronia's electrification.

There is further interest in the comedy's deadly serious background of extreme poverty/destitution/fear of hunger that haunts the film - it's very much there in the asides, in the protagonist's motivation.

I hadn't realized that Sylvia Sidney (known as a real symbol of the Great Depression) and Cary Grant had worked together twice before. They work very well - and she's far prettier than I remembered.

You'll enjoy this one - the writing (by Sturges and others) is truly sparkling, the comedy is fast, intelligent and the show charming.

Sylvia Sidney Suffers In A Comedy

[boblipton · 7/10 · 23 November 2022]

King Henry Stephenson would like some American loans to improve conditions in his country, so financier Edward Arnold offers to do so. To sell the bonds, he requires Princess Sylvia Sidney to go on a tour, but she comes down with mumps, so actress Sylvia Sidney takes her place. Newspaper publisher Cary Grant is skeptical.

Here's another attempt to star Miss Sidney in a comedy, but given Marion Gering's direction, even a script co-written by Preston Sturges can't chase the blues away; Miss Sidney remains depressed throughout as she falls for Grant's pretty unlikable character. Stephenson carries the acting honors, but the competition isn't too stiff here.

Charming Lubitsch like comedy that show-cases an off-beat performance by its leading lady cast against type.

[mark.waltz · 5/10 · 10 October 2013]

Those who know veteran actress Sylvia Sidney mainly for her pathetic waifs ("An American Tragedy", "Dead End") or crotchety old ladies ("Damian: The Omen II", "Beetlejuice") will find her uniquely different here in a dual role-as a European princess in America on a good will tour and her American actress look-alike, asked to understudy the princess on the tour when she gets the mumps. The actress character is close enough to Sidney's characters in the sense that she is down on her luck, seen early on manipulating the doors of an auto-mat window containing a turkey dinner which ends up going to the dogs anyway. As she takes on the life of the princess, she falls in love with reporter Cary Grant while a missing person's report is filed for the actress. Will she manage to continue to fool the press as the lisping suitor of the real princess is manipulated to question her validity as the noble royal?

Rarely cast in comedy during her leading lady era, Sidney stands out in two key comic scenes: first breaking the champagne glasses in continuous toasts while posing as the princess, and later acting all tough when detectives pick her up while searching for the missing actress. It's nice to see her in something other than slum clothing, and at times, she is photographed very exotically, almost appearing to be Asian. Grant is amusing in romantic support, while Edward Arnold is delightfully befuddled, in total shock when his guests follow Sidney's lead in tossing his prized champagne glasses over their shoulders as she toasts everything but the royal cattle. Henry Stephenson, as the King of the struggling country, is wisely droll, and Vince Barnett steals every moment he is on screen as the doomed to be dumped suitor. An early writing assignment for future director Preston Sturges, at times this seems more appropriate for Paramount's other leading ladies, but Sidney does a fine job, making this a somewhat delightful surprise.

Taronia Needs a Spokesperson

[view_and_review · 6/10 · 11 April 2024]

"Thirty Day Princess" is one of those movies that used the same actress to play two different identical roles. "Strangers in Love" (1932), "Twin Husbands" (1933), as well as a couple of other movies did the same thing in the early-thirties. You know that it will lead to some sort of mix up or confusion.

In "Thirty Day Princess," the small country of Taronia was in need of a loan to build affordable housing and provide hot water to many of its citizens. An American banker named Richard M. Gresham (Edward Arnold) had the idea of selling bonds in America to fund the Taronian project, but Taronia was such an unknown country that selling bonds for them would prove nearly impossible. Taronia would need a spokesperson to go on an American tour to garner the interest of the American people. That job would go to Princess Catterina Theodora Margarita aka Zizzi (Sylvia Sidney). She had the looks to interest the simpleminded Americans.

Zizzi got sick with the mumps upon her first day in America. It seemed as though all hope was lost until Gresham (the banker) came up with another idea. He had private investigators scour New York City to find Zizzi's doppelganger, and they came back with an identical woman named Nancy Lane (also Sylvia Sidney). Nancy Lane was already an actress which made her doubly perfect. With a little coaching she could master the Taronian accent, culture, and history all for the nice sum of $10,000. And there was an additional $5,000 in it for her if she could schmooze Porter Madison III (Cary Grant), a newspaper owner who mercilessly attacked Gresham whenever he could. You knew that Nancy (acting as the princess) and Porter would fall in love. You also knew that her true identity would eventually be revealed.

I liked "Thirty Day Princess" for the most part, although I was waiting for the moment it would be revealed that Nancy was an imposter. How would they reveal it? How badly would Porter (Cary Grant) be hurt since he fell in love with the princess (really Nancy), etc.?

Her revelation was standard fare. It went about as I expected, yet the movie still hit a major pothole that made me give it a mandatory demerit.

After Nancy's identity was revealed and she was paid for her performance, the only thing left was the happily ever after between her and Porter. Porter would have to get over his anger and humiliation and realize he loved her.

He did just that, then Nancy did the irksome thing. She ripped up her check. She tore up her payment for pretending to be the princess because she never meant to fall in love and she never meant to hurt Porter.

Why o why do people do that? Why do people tear up, burn, or otherwise destroy the money they earned for doing what they promised they'd do? Sure, you may have a change of heart, but don't tear up the money!! Donate it if you must, but you earned it!! It's yours!!! I'd rather be morally embattled with money in my pocket rather than morally embattled and broke. Ugh that grinds my gears so much.

Besides that utterly bewildering and objectionable move by Nancy Lane, I had no real qualms with "Thirty Day Princess."

Free on Odnoklassniki.

A very smart romantic comedy in which nothing is sacred

[AlsExGal · 8/10 · 24 November 2022]

The film opens with banker Richard Gresham (Edward Arnold) meeting King Anatol XII (Henry Stephenson) in a mud bath in the king's European country of Taronia. The king mentions that he'd love to be able to give his people some modern conveniences that Americans take for granted, but that the country is too poor. The banker says he could float fifty million dollars in bonds, but that it would require a good will tour by the royalty of Taronia. The king mentions that when kings leave their country they are often not allowed to return, and suggests that his daughter Catterina (Sylvia Sidney) do the good will tour in his place.

When the princess reaches America she comes down with the mumps and must be quarantined for a month. So Gresham scours New York City for a look alike for the princess and finds her in impoverished struggling actress Nancy Lane (also Sylvia Sidney of course), who will be paid ten thousand dollars for pulling off the impersonation. Complications ensue, not the least of which is that high minded newspaper publisher Porter Madison III (Cary Grant) has a running beef with Gresham and thinks that this bond business must be shady dealings AND Gresham thus instructs stand in Nancy Lane to "vamp" him.

Cary Grant is finding his lane in comedy at this point, and it is refreshing to see Sylvia Sidney do comedy after watching her play the tragic figure in so many films. There's lots here that is pure Great Depression or at least pure pre WWII Europe- Gresham as unscrupulous capitalist, an automat turkey dinner turning ordinary people into thieves because they are starving, fast talking reporters willing to believe and do anything to get a leg up on a story, and tiny European countries that nobody has ever heard of that sound like they exist in a snow globe. And then there is Vince Barnett who steals the show as a Taronian count who is a completely unappealing man in just about every way possible.

And then there is Grant's character Porter Madison III. Madison may sound high minded, but in the end he changes his mind about the bond issue because he falls for the big sad eyes of "the princess", not because he is convinced that the investment is fundamentally sound. So Gresham does have his number in that regard.

This one doesn't have any individual great one liners like a Lubitsch, but the situations are charming, and it is an enjoyable watch with no real villains, or at least effective ones, in sight.

Full of charm

[planktonrules · 8/10 · 31 January 2009]

This is a sweet little fantasy film that you will thoroughly enjoy provided you don't question the plot. Of course the idea of a princess having an exact double who can perfectly pretend to be her is a bit silly, but my advice is to just accept this and enjoy this nice little romantic film.

The film begins in a tiny fictional kingdom in Europe. A rich banker, Edward Arnold, meets the king (Henry Stephenson) and they talk about possibly selling some bonds to allow the kingdom to modernize--bring electricity and other modern things to the common people. Arnold likes the idea and wants the king to come back with him to America to go on a publicity tour to drum up support for the bonds. However, the king is hesitant and sends his daughter (Sylvia Sidney) instead. Unfortunately, shortly after arriving, the Princess becomes ill and is quarantined. The bond drive is no longer possible and it looks like the business deal will fail. However, when an exact double (who is supposed to be a struggling actress--also played by Sidney) is discovered, she is convinced to pretend to be the Princess. The biggest obstacle still in the way is a newspaper owner (Cary Grant) who dislikes Arnold, so it's not only up to the actress to play the part but win over cynical Grant to her side. While this isn't all that hard, what is she to eventually tell him? After all, they have fallen in love.

The film is exceptionally directed and the script gets the most out of the plot. Additionally, I really enjoyed Miss Sidney's performance--she made the film. As for Grant and Arnold, they are also terrific. While I always love Stephenson in films, I must admit that he had trouble with the accent--but this is the most minor of qualms. Overall, a delightful romantic comedy with strong elements of fantasy. You can't help but like it once you accept its rather odd premise.

Disappointment, slightly below average screwball with early Cary Grant

[Nate-48 · 5/10 · 8 August 2020]

One of the few Cary Grant movies to fully disappoint me - especially surprising since its 1934 but the direction failed him.

Preston Sturges is one of the writers, but didn't get to directing yet (this is six years before The Great McGinty and The Lady Eve). But you can see the handprints of Sturges on this Paramount picture.

The problem is there are four writers and they don't seem to be on the same page with each other or the director.

Sylvia Sydney is very good in a comedic role but the material is dated.

Vince Barnett's comic relief is just beyond annoying and almost drops this to a 3-4 rating.

There are two parts of this movie which are noteworthy besides the actors:

1. The use of split screen: this was rarely used by this time and is always fascinating before the digital age.

2. If you pay close attention you will see parallels to Chaplin's The Great Dictator (six years later) in the use of mood, sets and costumes. I am convinced Chaplin saw this and was influenced by parts of it.

Overall, just does not hold up well.

A case of double identity in this comedy romance

[SimonJack · 8/10 · 7 March 2017]

The plot for "Thirty Day Princess" may have been fairly new or unusual in its day. And, even though the idea of a double to replace a character has been used in any number of movies since, this is still an interesting and entertaining plot. Perhaps the players have as much to do with that as anything else. In this case, that's mostly Sylvia Sidney, who plays Princess Catterina and her double, Nancy Lane.

Cary Grant is Porter Madison III, a newspaper publisher. He's always looking for a scam or hot story to blow in his publication, especially if it has anything to do with Richard Gresham. Edward Arnold plays him. He has visited the mythical kingdom that is headed by the father of the princess. He is trying to get backing for a $50 million bond issue to help the small country update its infrastructure (plumbing, heating, etc.) for the poor (most of the population) who can't afford such luxuries. The king dare not leave the kingdom, but the princess goes to represent the country in a visit to the U. S. That enables Gresham to lock up the bond backing.

The day of her arrival, the princess comes down with the mumps and is quarantined for a month. Gresham swears the doctor and staff to secrecy, and while the princess is sequestered, he sends his men out to find a look-alike for the princess. Naturally, they stumble onto Nancy Lane who just happens to be a very hungry actress looking for work. She adopts the accent of the princess instantly.

When Porter meets the princess at a formal outing, arranged by Gresham, he is smitten by her. Her job is to "vamp" Porter to keep him from nixing the bond effort. Gresham will stand to make money on the deal, but it is above board. Madison just doesn't like him or trust him - possibly from something in the past that we never learn about.

Some very amusing and good comedy ensues as Porter courts the princess around the city and social circuit. One can imagine how it comes out - and it does. Sidney's performance is very striking. Her countenance, sincerity, and beauty is very convincing of innocence and a good person. Arnold's Gresham gets tough at times, but he's OK, even with his own personal grudge against Madison. In the end, Nancy and the princess hatch a plan to cool the cold war between the two. And the movie has a happy ending.

Grant plays his character as somewhat impetuous, flamboyant and overly confident at times. He knows a real princess when he sees one - so he says. A couple of comedic lines occur between him and his staff. Madison comes to the office with a shiner he got in an argument. He tells the managing editor (played by Robert McWade) it was from a door. The editor says, "Things are sure getting' tough. You can't go anywhere nowadays without a door walking up and bust you in the eye."

Later, Madison wants the paper staff to investigate the claim of a phony princess. He says, "How many reporters are working here?" The editor replies, "About a quarter of 'em."

This is an early Cary Grant film that has some other very good actors of the day. The plot is good and the comedy and romance work nicely. Most should enjoy this Ruritanian romance.

Here are some more funny lines from the film. For more dialog, see the Quotes section under this IMDb Web page of the movie.

Richard M. Gresham, "People come in twos in this world, like the animals in the ark. There's an old fellow at the club looks as much like me as I do. Good-looking man, too."

Princess Catterina, "In Taronia, what we mean, we say. What we say, we mean."

King Anatol XII, "It's no fun being a king anymore."

Porter Madison III, "Hey, you know, that's a pretty neat touch - that foreign flypaper, don't you think?" Managing editor, "I wouldn't know, I encounter so many neat touches."

Porter Madison III, "Now, spread that across the front page under my signature. Get the editorial writers on the job and dig up statistics. You know how to run a big campaign, don't ya?" Managing editor, "I made Lincoln free the slaves."

Porter Madison III, "After all, this is not a scandal sheet." Managing editor, "That's news."

This tawdry tale defines "conspicuous consumption" . . .

[oscaralbert · 8/10 · 14 August 2020]

. . . at the height of America's FIRST Great Depression (brought on by the perfidious Pachyderm Party's callous disregard for 99 Per Center U.S. Citizens, just as has our Second, 2020 Greater Depression). Instead or riding up and down on Golden Elevators or squatting on Golden Loos, the tone deaf iniquitous Fat Cat One Per Centers populating THIRTY DAY PRINCESS shatter and destroy an $18,000 set of crystal goblets on a whim during a "humorous" series of champagne toasts. Some viewers may fail to realize it, but in 1934 this amount of cash value would have fed 180,000 meals to Americans dying of hunger before they could get to the front of their soup and bread line. Ho-ho.

Wow! The ending is better than "Casablanca"

[estherwalker-34710 · 10/10 · 23 March 2023]

Surprise! This is now my favorite Cary Grant movie! Ditto for the then beautiful Sylvia Sidney! They certainly made a handsome/beautiful couple during their frequent associations in this film.

At only 74 minutes long, it qualifies as a programmer, rather than a full-fledged feature film. No matter. I still consider it a modestly funny farcical screwball romantic comedy. It's also one of those rare films where an actor(Sylvia, in this case) plays a character and their identical-looking 'twin'. Here, she plays the princess of a fictional European country: Taronia, as well as her incredibly look-alike American counterpart: Nancy, who is a starving struggling young actress. Thus, we have Princess vs. Pauper situation. This adds to the appeal of the film, as the pauper gets her chance to play the princess, when the latter immediately comes down with the mumps, upon her arrival in the US. Thus, the banker, played by Eddie Arnold, hires her to impersonate the princess, to promote floating a $50 million loan to improve the infrastructure of her tiny country.

Cary plays a newspaper editor, who initially is sarcastic about loaning this tiny country such a sum. However, when he meets the 'princess'(Nancy) at a social gathering, he's smitten by her beauty and graciousness. Hence, he takes every opportunity to squire her around town, and they even kiss. However, eventually, he hears rumors that the 'princess' is actually the lowly Nancy. When Cary finally meets the real princess, she points out that she doesn't want to give up her crown to marry him. She pleads that he , instead, marry Nancy, as she loves him, and she thinks that he loves her. But, Cary is still peeved that Nancy duped him, thus initially isn't impressed with that idea, and walks out upset. But, he soon reconsiders and decides to visit Nancy at her home to talk things over. - Fireworks to end the film!!

Vince Barnett was a famous vaudevillian and film comedian and trickster. He adds occasional humor in playing the princess's unwanted dopey aristocratic fiancé : Count Nicholaus. His ears stuck out pretty far, enhancing his impression of looking dopey. Nancy wants to get rid of him in favor of Cary,

Despite the implausibility of the plot's premise, it's an entertaining experience! Presently, you can find it in the Cary Grant screen legend collection.