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Jeff is the supreme press agent who has his own private club where the rich and powerful meet and drink for free. It is free until they need him and he charges a bundle. Jeff has power, influence and a beautiful ex-wife. Things change when Jeff saves Minnie after she jumps into the river. He gives her the fully beauty treatment and a new name, Mona Martine. He also falls hard for her, but his advances are not returned. But Mona needs Jeff, and all his expertise, when she shoots Ramon in her room. Written by
Tony Fontana <firstname.lastname@example.org>
John Miljan is in studio records/casting call lists for the role of "Tucker," but he did not appear in the movie. Raymond Hatton was reported to be in the cast by Film Daily, but he was not seen either. See more »
Careful, Mike; careful! You are speaking of the lady I almost loved.
The dames *you've* almost loved would read from here to Chicago--laid end to end.
[thinks this over a moment]
What a...quaint expression.
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Robert Montgomery is great in this comedy of manners. It should have been a screwball comedy, and if it had been released eighteen months later, it would have been, but there was no such genre at that time; even a year later, IT HAPPENED ONE NIGHT was considered a screwball comedy instead of a romantic one.
But at this time, Screwball was BOUDU SAVED FROM DROWNING, and the Production Code hadn't closed down the sex comedy, which is what made the American screwball comedy. So this movie about how ace press agent Robert Montgomery saves Sally Eilers from committing suicide by jumping off the Staten Island Ferry, makes her the toast of the town and then orchestrates her defense after she shoots someone just misses.
Montgomery is perfect, exuding an air of genial, self-aware corruption, but everyone else seems to be taking matters far too seriously, even the old ladies he hires to pose as Eiler's sniveling aunts in the courtroom.
MGM's Harry Beaumont, their resident expert on making bricks without straw and stars without talent somehow fails... Eilers lacks the subtlety and range for her role, which weights down this work. Madge Evans is present and steady, but the entire movie lacks the sense of madness that infuses screwball. Ah well. Good try.
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