Ruth and her beautiful sister Eileen come to New York's Greenwich Village looking for "fame, fortune and a 'For Rent' sign on Barrow Street". They find an apartment (such as it is!), but ... See full summary »
Non-citizen Arthur marries reporter Murphy for a bogus gangster's confession. A divorce is needed, and Murphy is fired. The gangster wants her to be his girlfriend, the police are outside, and only one who can save her is Murphy.
Erle C. Kenton
Auto magnate James Buchanan has a fiancée who doesn't love him and a board of directors who won't listen to him. Brooding on a park bench, he meets unemployed Joan Hawthorne, a fine cook who needs a partner to apply for a 'couple' butler/cook job with gourmet ex-bootlegger Mike Rossini. Bemused, Buchanan goes along with the gag, taking lessons from his own butler. But there's sure to be a day of reckoning... Written by
Rod Crawford <firstname.lastname@example.org>
In order to cash in on Frank Capra's popularity in England, Columbia Pictures released this film in London as "A Frank Capra Production, produced by Frank Capra." Capra who had never even seen the film was furious. This led to a bitter year-long dispute between the head of Columbia Harry Cohn, and Capra (who sued Columbia for libel). It almost cost Cohn his job and almost resulted in Capra leaving the studio. It was resolved when Cohn relented and promised to buy for Capra, the rights to the play "You Can't Take It with You" for $200,000, and pay him some back salary if he would drop the suit. And Capra did. See more »
Depression-era folly, fraught with light-hearted whimsy...
Herbert Marshall is quite charming as an automobile tycoon who chances upon unemployed, nearly-homeless Jean Arthur in the park; he conceals his true identity and helps land a cook-and-butler job for them both at the home of a wealthy racketeer, but his impending marriage to a society girl might put an end to the charade. Silly fluff, but put over with so much professionalism that one isn't apt to complain too loudly. Arthur creates a likable character and has some very cute scenes (especially her cooking audition with the garlic), while her conversation with Marshall early on about "two hundred people for every one job" is remarkably relevant in the 21st century. The premise is thin, with the stretch marks extremely apparent in the final tug, yet there are still enough big laughs here to satisfy fans of nutty 1930s comedies. **1/2 from ****
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