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Storyline
Nikki Martin, a parisian opera star, takes off in search of adventure and true-love leaving her arranged husband to be at the alter. While hitchhiking, Nikki meets handsome American musician, Windy McLean and his band the 'McLean Wildcats'. Windy immediately spites her, but Nikki falls in love with him and follows him to New York by stowing away on the ship his on. The steward finds her hiding in Windy and the Wilcats room. She is locked up by authorities and Windy and the band are fired. When the ship reaches New York, Nikki escapes off the ship and finds out the Wilcats apartment. They demand her to leave, fearing being implicated but she refuses. Clair, Windy girlfriend shows up with Hammacher, and offers the band a low paying job at a roadhouse in another city. Anxious to depart, they accept. Nikki becomes the bands singer. Clair becomes jealous and reports her to the authorities, causing the band to flee again... Written by
Kelly
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Certificate:
Approved
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Did You Know?
Trivia
In the beginning of the film, Pons' character escapes her wedding in a non-supercharged 1936 Cord Phaeton. The Indiana-made car, which cost about $3,700 was rare even when new and exotic enough to look like it belonged in the movie which begins set in France.
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Connections
Referenced in
Shirobara wa sakedo (1937)
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Soundtracks
"Seal It with a Kiss"
(1936)
Music by
Arthur Schwartz
Lyrics by
Edward Heyman
Played on guitar by
Jack Oakie and sung by
Lily Pons with the studio orchestra
Reprised on saxophone by
Gene Raymond
Reprised by the band and danced by
Lily Pons,
Jack Oakie,
Mischa Auer,
Frank Jenks and
Gene Raymond and sung by Pons
Reprised by the band at the end
Played as background music often
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Perhaps it made sense from a commercial standpoint: bringing a great lady of the opera, Lili Pons, to a level at which the public could more easily relate to her - perhaps even to identify with her in some respects. The result, ideally, would have been to create a leading lady in films who sang divinely as she was surrounded by "us." Miss Pons gave it her best try - here and elsewhere - but it just didn't work. Most unfortunately, the filmmakers effort to generate the common touch involved presenting her in the most commonplace outfits, makeup and coiffure, downplaying the "glamour" associated with grand opera. Supporting her with the buffoonery of Jack Oakie and his cohorts, having her hiding under blankets, climbing here and there, etc. doesn't register either. Though no beauty, Lili Pons can radiate elegance and charm (along with her great vocalizing), as she does, in full costume, when she sings "Una voce poco fa" in this picture. Her movies don't give us enough of the Lili Pons that made her a stage presence, and might have made her a screen presence. To have her play against (her own) type - here and elsewhere - was a mistake.