Highlights:
Lowlights:
- Gracie Allen. She's a delight, playing her ukulele, dashing into scenes, and doling out confused one-liners. "He's only my brother by marriage. You see, my father married my mother, and he's their son," she quips. Because she's so quirky she also gets away with things like impersonating Mae West at a costume ball, and saying with a knowing look "Come on, dwarfies. It's off to work we go," and then later "So, you're going to go through with it. You're gonna marry this Grayson girl just because she has a big plantation with lovely pineapples."
- Eleanor Powell's third dance number, her 'Hawaiian Medley', is both energetic and lyrical in fusing tap with hula. From this number especially, you can see why Fred Astaire held her in such high esteem, and the two would appear together in 'Broadway Melody of 1940' the following year.
- George Burns. He has a much smaller role and is only with Gracie at the very end, but it's of special interest because it was their final film together, and he would not appear in the movies again until 'The Sunshine Boys' (1975).
Lowlights:
- The plot is silly and based on the oft-used idea of lookalikes taking each other's places, and there isn't a lot of creativity in the dialogue. The film quickly becomes tedious when Allen isn't on the screen, with the exception of that last dance by Powell.
- Powell also does a well-meaning tribute to Bill 'Bojangles' Robinson by performing a pretty good version of his Stair Dance in her second number, but sadly she's in blackface.
- Less well-meaning is the casual racism evident in the portrayals of African-American and Asian-American servants. Eddie 'Rochester' Anderson is easily confused, easily frightened, and thinks 8x6=30. Willie Fung spouts broken English and alternates between having crafty ideas and being stupid.
- Robert Young. Maybe he's an acquired taste or maybe he was just a victim of the role here, but I can't recall a single moment of him that I liked. Seeing him in duplicate just made it worse too.