Count Armalia believes that the luck of birth is all that separates the rich from the poor. To test his theory, he sends Anni, who is a singer in a dive, to a ritzy resort for two weeks. ... See full summary »
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Count Armalia believes that the luck of birth is all that separates the rich from the poor. To test his theory, he sends Anni, who is a singer in a dive, to a ritzy resort for two weeks. With fancy new clothes and ersatz status, Anni decides that she likes the rich life. But with time running out, she needs a rich husband and Rudi is the one she chooses. Only it takes longer than two weeks for Rudi to dump his fiancée and propose to her. In the weeks that she has been there, she finds that she loves Giulio, the postman with the small house and the donkey cart. But will she give up love for wealth.... Written by
Tony Fontana <tony.fontana@spacebbs.com>
Probably the real "star" of the film, and the source of its title, was the red beaded gown by Adrian, worn by Joan Crawford in the climactic ball scene. The dress was reused in fashion show sequences in The Big Store and, finally in color, in Du Barry Was a Lady. See more »
Quotes
Page Boy:
[At the casino in Trieste: a young uniformed casino attendant carrying a platter brings Count Armalia his rather substantial roulette winnings in the form of large banknotes]
Sir.
Count Rudi Armalia:
[the Count starts to count the bills]
Do you save your money, young man?
Page Boy:
No sir.
Count Rudi Armalia:
Or support a sick mother?
Page Boy:
No sir.
Count Rudi Armalia:
Perhaps you're working your way through school?
Page Boy:
No sir.
Count Rudi Armalia:
You have no ambition of any kind?
Page Boy:
No sir.
Count Rudi Armalia:
Good. Here's an enormous tip for you. Squander it.
[...] See more »
Crazy Credits
During the opening credits, a music box is shown playing a tune in the background. See more »
"Who Wants Love?"
(1937)
Music by Franz Waxman
Lyrics by Gus Kahn
Sung by Joan Crawford at the Cordellera Bar (uncredited)
Played throughout as part of the score See more »
Considered a flop in the past(it is the film that got Joan labeled box office poison, despite the fact that the film before it, Mrs. Cheyney, was a big hit), viewed today, it is incredible how much Joan gave to an obviously butchered script. Her scenes alone in her "ivory tower" of a room, especially when she notices that the birds have gone from their nest, are acting in it's highest form. Strangely, this is one of a number of films where she plays the working girl that we DO NOT feel much sympathy for her.
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Considered a flop in the past(it is the film that got Joan labeled box office poison, despite the fact that the film before it, Mrs. Cheyney, was a big hit), viewed today, it is incredible how much Joan gave to an obviously butchered script. Her scenes alone in her "ivory tower" of a room, especially when she notices that the birds have gone from their nest, are acting in it's highest form. Strangely, this is one of a number of films where she plays the working girl that we DO NOT feel much sympathy for her.