Chester Beatty and Tessie Weeks have been engaged for 5 years and going together for 15 years before that. Chester is reluctant to burden Tessie with marriage because of his secret problem.... See full summary »

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(screenplay), (story) | 2 more credits »
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Cast

Cast overview:
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Chester Beatty (as Charlie Ruggles)
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Horace Stanton
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Grace Stanton
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Burgess Frisbie
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Mr. O'Leary
Colin Tapley ...
Doctor Vernon
Helen Flint ...
Mrs. Duvall
Rae Daggett ...
Miss Benson
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Rex Daniels
Arthur Hoyt ...
Smithers
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Burger
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Storyline

Chester Beatty and Tessie Weeks have been engaged for 5 years and going together for 15 years before that. Chester is reluctant to burden Tessie with marriage because of his secret problem. He is a sleepwalker. When Tessie finally does rope Chester into marriage, he can't get time off from his boss of 26 years, Mr. Frisbee. To resolve the problem, Chester sets out to impress his boss by securing a big sales contract of glass eyes. He takes Tessie and follows the rich doll company owner Horace B. Stanton to a lakeside resort and befriends him. However, his sleep-walking makes him a prime suspect in a thievery/murder case. Written by Gary Jackson <garyjack5@cogeco.ca>

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Comedy

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Release Date:

5 June 1936 (USA)  »

Also Known As:

Han går i søvne  »

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Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Trivia

One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »

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User Reviews

 
Far too early to rise, and I'm referring to the plot.
24 November 2016 | by (United States) – See all my reviews

This is an odd little comedy, one of many pairings of Mary Boland and Charles Ruggles. They are newlyweds, engaged for years, whose first month's of marriage are gravely affected by his sleep walking which makes him a suspect in jewel robbery and murder. They are great together, but the material is rather dark, even if the film is presented as a comedy. "I'd rather see you in jail than working for a man like that!" one of his clients tells him after talking to Ruggles' boss (who keeps firing him) on the phone. I'll give this credit for trying to be different than other screwball comedies of the time, but it left me squinting my eyes in puzzlement over its purpose and what influenced its writers. The always dependable Gail Patrick gets prominent billing, but has next to nothing to do. George Barbier is used to good effect as the client/Patrick's father, as is Lucien Littlefield as the imperious boss, but I have to call thus one a misfire.


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