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 ...
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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 <email@example.com>
At first, the kooky tone of "Live, Love and Learn" seems like a put-on with no place to take its collection of carefree characters. Long Island gal from a wealthy brood (whom she apparently finds boring) meets and marries a penniless artist from Greenwich Village in record time, and doesn't seem to mind his "fire trap" apartment nor his jovial, half-sloshed roommate. But when the artist is discovered and has a showing of his work, he immediately believes the complimentary palaver delivered by the idle rich, soon alienating his spouse and best friend. It's at this point the tone of the picture sneakily changes, and one sees it isn't all about cut-ups living the Bohemian lifestyle. George Fitzmaurice's direction is smooth--and his trio of players (Robert Montgomery, Rosalind Russell, and an adorable Robert Benchley) are a cute comedy team--but when the edge in co-screenwriter Charles Brackett's script creeps in unexpectedly, it braces the viewer for more than just crazy laughs. This is one picture that promises something extra, and then delivers on that promise. There are some wayward moments that take the plot off track (too much in there about a little boy sitting in as Montgomery's model), but the running gags are funny and the writing is smart and stylish. Does it capture the real Greenwich Village of 1937? Probably not, but the sheer attempt at a scratchy-yet-slick scenario reaps its own rewards, and the performers understand the material and make it substantial. *** from ****
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