Most films from the late 30s struck a chord with audiences if they presented some laughs, usually from radio comics; tossed in a romantic storyline with attractive leads; and included obligatory music scenes to keep things humming along. In this instance, RKO has put a likable package together in the form of radio star Joe Penner, matinee idol Gene Raymond and musical actress Harriet Hilliard (later, Nelson).
It's a winning combination. And if that were not enough, some additional comic support comes from veteran scene stealers Victor Moore and Helen Broderick who had done a few other films together during this period at RKO. The studio does not scrimp on talent...they also add comedian Harry Parke (father of Albert Brooks), Margaret Dumont (longtime foil for the Marx brothers), and Billy Gilbert as well as teenaged dancing sensation Ann Miller who does a couple of memorable tap dance numbers.
In addition to the well-known roster of performers, the studio spares no expense on elaborately designed sets some of them in the art deco style. The main showpiece is a hotel staircase and lobby, as this is where most of the action takes place. It really is a breathtaking production with these spectacular sets as well as some lavish costumes that include beautiful gowns for Miss Hilliard and a smart tuxedo or two for Mr. Raymond. In short, the whole film is a visual feast, so that if the plot lags a bit, there is still plenty to enjoy.
One thing I savored was a lot of the sharp comedic banter that occurred between the main characters. Joe Penner, who plays a hapless hanger-on, has an excellent deadpan delivery that is at once endearing and annoying (how's that for a contradiction!). Meanwhile Harry Parke goes through the movie as a wacky detective named Parkyakarkus, and he has a lot of amusing dialogue with his costars that consists of clever puns as well as a few funny malapropisms. Overall, the script is very witty and I appreciated the writers' efforts to give each of the idiosyncratic performers something unique to do.
As for the two leads and the romantic plot, Gene Raymond is once again featured in the role of a charming ladies man. He is so persistent in trying to get a gal (Hilliard) to take him seriously, he almost comes off as a stalker, until she finally gives in and reciprocates his feelings. For many of the film's early scenes, Hilliard's line deliveries are appropriately hard, as she is initially meant to spurn Raymond's advances, even during several scenes that evoke Cinderella and Prince Charming. But I think she may be a little too edgy in the recitation of some lines. And I couldn't help but think how Raymond's usual romcom partner at RKO, Ann Sothern, would have done a better job conveying the flustered yet tender aspects of the character.
It's a winning combination. And if that were not enough, some additional comic support comes from veteran scene stealers Victor Moore and Helen Broderick who had done a few other films together during this period at RKO. The studio does not scrimp on talent...they also add comedian Harry Parke (father of Albert Brooks), Margaret Dumont (longtime foil for the Marx brothers), and Billy Gilbert as well as teenaged dancing sensation Ann Miller who does a couple of memorable tap dance numbers.
In addition to the well-known roster of performers, the studio spares no expense on elaborately designed sets some of them in the art deco style. The main showpiece is a hotel staircase and lobby, as this is where most of the action takes place. It really is a breathtaking production with these spectacular sets as well as some lavish costumes that include beautiful gowns for Miss Hilliard and a smart tuxedo or two for Mr. Raymond. In short, the whole film is a visual feast, so that if the plot lags a bit, there is still plenty to enjoy.
One thing I savored was a lot of the sharp comedic banter that occurred between the main characters. Joe Penner, who plays a hapless hanger-on, has an excellent deadpan delivery that is at once endearing and annoying (how's that for a contradiction!). Meanwhile Harry Parke goes through the movie as a wacky detective named Parkyakarkus, and he has a lot of amusing dialogue with his costars that consists of clever puns as well as a few funny malapropisms. Overall, the script is very witty and I appreciated the writers' efforts to give each of the idiosyncratic performers something unique to do.
As for the two leads and the romantic plot, Gene Raymond is once again featured in the role of a charming ladies man. He is so persistent in trying to get a gal (Hilliard) to take him seriously, he almost comes off as a stalker, until she finally gives in and reciprocates his feelings. For many of the film's early scenes, Hilliard's line deliveries are appropriately hard, as she is initially meant to spurn Raymond's advances, even during several scenes that evoke Cinderella and Prince Charming. But I think she may be a little too edgy in the recitation of some lines. And I couldn't help but think how Raymond's usual romcom partner at RKO, Ann Sothern, would have done a better job conveying the flustered yet tender aspects of the character.