Marge is a capable secretary, but her bosses are more interested in her than her abilities. This causes her to be frequently unemployed. To get a job, she changes her look to make herself ... See full summary »
Longfellow Deeds lives in a small town, leading a small town kind of life - including playing the tuba in the town band. When a relative dies and leaves Deeds a fortune, Longfellow picks up his tuba and moves to the big city where he becomes an instant target for everyone from the greedy opera committee to the sensationist daily newspaper. Deeds outwits them all until Babe Bennett comes along. Babe is a hot-shot reporter who figures the best way to get close to Deeds is to pose as a damsel in distress. When small-town boy meets big-city girl anything can, and does, happen. Written by
Harry Cohn had a dictum in that he would only allow his directors to print any one of their takes, thereby saving the studio a great deal of money. Frank Capra found a loophole in getting round this. At the end of each take, instead of shouting "Cut" he would shout "Do it again", and the actors would launch immediately into an unbroken repetition of the scene. See more »
When waking up from his bender, Deeds' hair changes. See more »
[Mac, the newspaper editor, is chewing out his reporting staff for their inability to get a scoop on Deeds]
He's been here three days and what have you numb-skulls brought in? Any halfwit novice could have done better. You imbecilic stoops. Now get out of here before I really tell you what I think of you. Go on, get out!
[a reporter mumbles an unintelligible insult at Mac as he exits the office]
What was that?
I said you were a... uh... I said you had dirty plaster.
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Winthrop Oliver Warner (a studio musician) actually played the tuba for the film. See more »
Of all Capra's films this is the one I like the best, partly, I think, because there has never been anybody in the history of cinema to match Gary Cooper at putting on the boyish charm. As Longfellow Deeds, a man who inherits a lot of money he does not need and therefore does not want, Cooper is just right, a hick, but not a fool, a gentle man but not one who will let the wool be pulled over his eyes. The films' pertinence arises from its' depiction of a rich man prepared to give his wealth away to benefit his fellow man. It was a fantasy then, and is as much a fantasy now, because we do not learn, least of all from pictures even as good as this one.
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