In 1917 Lt. Bill Gordon is headed for France when he meets and becomes friendly with Joel Carter, niece of the Asst. Secretary of War. Finding out that he is an expert on codes, she gets ... See full summary »
William K. Howard,
Idealistic attorney Anton Adam makes headlines when he successfully prosecutes a prominent New York racketeer named Gilmurry. Adam's sudden renown attracts the attention of high-profile ... See full summary »
Gar Evans is a "high pressure" promoter who tends to be unrealistically optimistic about his projects and exaggerates the chance of success. He sets up the "Golden Gate Artificial Rubber ... See full summary »
A male Polish secret agent and a female Russian secret-police spy smuggle messages to St. Petersburg in candlesticks. While chasing after stolen candlesticks they discover each other's ... See full summary »
Waldo and Irene have been living with Margit for the four years that they have been engaged. Margit has planned the wedding and the honeymoon - in fact, Margit plans everything down to what they will have for breakfast every day. The only problem is that Waldo is a milquetoast and Irene does not want to be married to a milquetoast. So she says she is in love with Charlie, a bohemian artist/producer who lives in a trailer behind Spike's Place. When Margit confronts Charlie about giving up Irene, Charlie sees that she is the one for him. To make everyone happy, Charlie will have to help Waldo get a backbone. Written by
Tony Fontana <email@example.com>
In a scene near the end that takes place in William Powell's trailer, an Oscar statuette is visible in the background standing on a white shelf. In the next shot, the statuette is on top of a black box that is on the white shelf. The following shot has the Oscar back on the white shelf. A few moments later, the statuette is knocked over, and is seen toppling from on top of the black box again. See more »
I remember men in our regiment who'd ride out across the sands against the Arabs to face a certain horrible death carrying a rose in their teeth.
I seem to see you with spaghetti.
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Watching this movie was like looking through a beautiful, whimsical kaleidoscope. So many facets are perfect: Loy at her peak of gorgeous, wry sophistication; the Deco sets; Powell's gentle irony; the relationships of various characters and the consistency of dialog; even the physical pranks were great--and I don't like slapstick all that much! This film reminded me of Shop Around the Corner. It wasn't as good, that's a tall order, but there was something bigger going on in this movie than just the usual romantic farce. I have to admire the writer's and director's ability to pull off a romantic comedy between two such diametrically opposed people. The heroine is the quintessential control freak; the hero, as laid back and tolerant as a hippie of the sixties. No one apologizes for their quirks, which is refreshing, and neither of them had to change all that much to make the ending work. And as far as acting goes, Loy and Powell don't hold back any punches (literally!) whenever the two characters collide. It is amazing to watch them knowing how they were reacting to Harlow's death during shooting. I love finding old movies, and this one is buried treasure.
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