Kitty Vane, Alan Trent, and Gerald Shannon have been inseparable friends since childhood. Kitty has always known she would marry one of them, but has waited until the beginning of World War... See full summary »
Timid milkman, Burleigh Sullivan (Lloyd), somehow knocks out a boxing champ in a brawl. The fighter's manager decides to build up the milkman's reputation in a series of fixed fights and ... See full summary »
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>
Bridal Chorus (Here Comes the Bride)
Written by Richard Wagner
Played on piano by Walter Byron at the wedding rehearsal
Reprised by the band at the wedding See more »
This dry, low-key romantic comedy is very satisfying. Arthur is excellent, and Marshall is well cast as an automobile executive who wants to get away from his stuffy board of directors and his pushy fiancé, and finds happiness posing as a butler (initially so that Arthur can get work as part of a butler-cook team). Lionel Stander (as he often does) steals the show as the acerbic sidekick of gangster Carillo, and he's given some great lines. Carillo is pleasing, too, as the gangster who wants to live like the gentry, and who's romantically interested in Arthur, but who's willing to hold back because he's a gourmet and is even more interested in retaining her as a cook. The best thing about the film is that it never gets tripped up in excessive plot complications, or telegraphs its humor. Giving Carillo a gustatorial as well as romantic interest allows him to take certain actions without burdening the romance of the principals. And, after giving us enough of a glimpse of the snotty fiancé to know what Marshall's in for, the film has the grace not to show her face again; no silly "scheming" or tiresome bared claws. In the final scene, when all are trying to convince Arthur through a locked door that she should marry, they move from straight arguments to playing roles in a "routine," but there's no winking and signaling to signify a change in technique, it just flows quickly and naturally. The film has enough confidence in the unfolding of the relationship between the principals that the intrusion of other characters and mechanical "plot complications" can be kept to a minimum Thus Carillo's proposal and interference at the denouement serves mainly to allow Arthur to voice her feelings about Marshall, and Carillo actually brings them together rather than holding them apart. Nice film.
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