The blueblooded Van Kletterings are broke; debutante Wendy, slated to remedy this by marrying rich bore Henry Morgan, instead leaves him at the altar and goes to work as a model for ... See full summary »
The blueblooded Van Kletterings are broke; debutante Wendy, slated to remedy this by marrying rich bore Henry Morgan, instead leaves him at the altar and goes to work as a model for high-fashion clothing designer George Curson, whom she soon falls for. But he's happily married (at least on his side) and going into debt financing a show to please wife Mary's desire for stardom. Vindictive Morgan, jealous of George, hopes to hasten his ruin. Can the House of Curson be saved? Written by
Rod Crawford <firstname.lastname@example.org>
Many of the models featured in the film were based in New York and flown out to Hollywood for filming. They were among the first to be introduced to Max Factor's new Pan-Cake makeup brand, which they then took back to New York, helping to quickly popularize the new item. See more »
The credits appear on pieces of fabric that unroll, and after each credit appears, the fabric displaying it is cut by a fashion model with a giant pair of scissors. See more »
The pacing and performances in this "varieties" package are just right: like a sumptuous buffet catered with style this packed entertainment serves up hot jazz, delightful dance, and considerable comedy along with the main course, splendiferous fashions. And all of it is seasoned with just a sprinkling of romance!
Those who have panned this picture as a "turkey" have decidedly missed the point: yes, the plot is as thin as some of the clothing on the models here on display--it's supposed to be! This rich mix demands a minimal story, since we're meant to enjoy the goings on with the same detached discernment which the tony patrons of the House of Curzon display in reviewing the season's outfits. The technicolor, as others have noted, is delightful (Joan Bennett's strawberry blonde hair being just one of the delicious shades on display) and the camerawork and direction are often quite innovative and at times inspired.
Like the opening sequence--a bevy of beautiful girls unroll the opening titles and credits on luxurious fabrics--Warner Baxter's first scene, where he improvises a fashionable hat for a demanding patron by sticking a feather into a rag he's plucked off the head of one of the cleaning ladies, sets the tone of the picture, as if to say: we've put together with panache and ingenuity a clever divertissement for you. Sit back and enjoy!
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