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Marcia Mae Jones,
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Edward Everett Horton
Struggling songwriter Judy Walker talks her way into the apartment of a famous composer, and finds that he's on vacation. Homeless and without any money, she decides to stay at his place until his return, making use of all his belongings, and spreading the word that she is the composer's collaborator. She writes a song, wtih the composer listed as the co-writer, which becomes a big radio hit. The famous composer returns, and screwball comedy ensues. Written by
That Walker girl can't put it over on me. I'll sue for damages and get them unless you stop the program.
[Barging into the room, extremely flustered]
Wait! Wait! Sh... she was hungry. She had to eat.
Get outa here.
Who had to eat? What?
Judy Walker. She had to eat his apartment. No, I, I mean she had to move into his food. No, I mean...
She had to forge my name?
Certainly. She couldn't forge her own! She was desperate. The landlord wouldn't listen to her music. No, I mean, I mean she ...
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Republic's idea of sophisticated screwball something-or-other
This tedious 'musical' from 1937 was clearly an A grade Republic production maybe hoping to tag along on the bottom half of a double bill with a smart A grade film from MGM or Paramount. Very well produced with lavish and well furnished big sets and some style RHYTHM IN THE CLOUDS is basically a company calling card or showreel of Republic's 'expertise'... but...someone forgot to create something for the audience to enjoy. Screenplay by Nathaniel West (Of Day Of The Locust fame...he also later adapted Let's Make Music for RKO) who must have used a blunt pencil for this one. An A grade film out of Republic was a B+ for RKO or Columbia which might indicate the level of expertise on show. Basically it is about a dishonest female music arranger sneaks into the apartment of a vacationing composer and creates the impression they are collaborating. Her music with his name on it too. It becomes a hit and makes the radio. He returns: "screwball situations" . It just isn't very interesting. A no-star cast who might have been Boston stage actors recently and a forgettable music score makes this film dull. If you want to some ambitious production imagery and set design and camera work etc hard at work at Republic in their early days of 1937 here it is. A 30s production curio only. Amusingly, it is what Grand National or later in 1937, Monogram was striving for.
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