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Bob is a struggling artist who paints for his own amusement. Julie is a rich society girl. When they meet, it is cute and they are soon married. Living in a small apartment with the constant company of close friend Oscar, they are poor, but happy. When the papers run the story about his riot in the park, Bob is suddenly news. With his private showing he becomes the society's newest sensation. Bob becomes serious, devoid of fun and adventure. Money becomes his prime concern and all the introductions are handled by Lilly. But this is not the life that either Julie or Oscar want. Written by
Tony Fontana <firstname.lastname@example.org>
As A Greenwich Village Native, I Know The Sets and Attitudes Here Are All Wrong
This begins with Roz Russell as a rich girl riding her horse near where Bohemian Robert Montgomery is working on a painting. She falls off the horse, twice, and next thing : They're getting married by a justice of the peace.
Was a whole movie scrapped and the ghastly goings-on that follow plugged in?
This is very possibly the worst "A" picture from the 1930s I've ever seen, wasting the two leads and such excellent supporting players as Robert Benchley and Monty Woolley.
(Helen Vinson comes through unscathed, as a viper.)
There is a strong secondary gay theme. First there are snide jokes about a decorator and his "partner." (This, of course, is not to mention that Benchley is living with Montgomery before Russell moves in.)
When Montgomery realizes he has sold out as an artist, he propositions a woman on the street to let him paint her little boy, whom we later see eating candy and wearing a loincloth as Montgomery tries to capture his image.
It doesn't seem as if the people behind this ever lived, loved, or -- very definitely -- learned.
How astonishing that Charles Brackett gets credit for the arch, smug screenplay!
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