A Texas millionaire travels to Europe to meet his girlfriend, a European countess. He stops in a rustic mountain village and meets a beautiful peasant girl. He falls in love with her, then ... See full summary »
Paul Wagner and Rosalind Brown are in love, but her father doesn't feel Paul's lifestyle will make him a suitable husband for his daughter. When Mr. Brown instructs all the servants in his extensive household, except the missing Katerina Linz, not to let Paul in his house again, Paul dons his chauffeur's clothing and takes Katerina to a local fair where they both have a good time. Paul learns she is a farm girl working temporarily as a scullery maid to earn money to replace a cow that died. He takes her home and sees Rosalind while Katarina fixes something for them to eat. The next day, Rosalind asks Katerina to deliver a letter to Paul because all the other servants are busy. At Paul's apartment, he continues the ruse saying the master is out, but his womanizing friend Charlie arrives and is taken by Katerina to be the Paul Wagner for whom the note is intended. Katerina slaps Charlie when he steals a kiss, and when Paul laughs he is "fired" by Charlie, who was playing along with the ... Written by
Arthur Hausner <firstname.lastname@example.org>
This film's television premiere took place in Los Angeles Wednesday 17 July 1957 on KTTV (Channel 11); it first aired in Philadelphia Sunday 1 December 1957 on WFIL (Channel 6), and in New York City 8 March 1962 on WCBS (Channel 2). See more »
Franciska Gaal came to stardom in Europe for her portrayal of Katharina in a much darker though no less romantic German film called Katharina Die Letzte -- Catherine the Last (a pun on Catherine the First, Empress of all the Russias). In the German version, Gaal as the schlub of a scullery wench is much dirtier, more clumsy, and totally believable as an overlooked bumpkin skivvy. Her metamorphosis through loving the blackguard cad is, therefore, more amazing and heartrending. Dear Franchot Tone is hardly believable as a immoral seducer, out to marry an heiress only for her money and willing to betray the innocent country girl to obtain his black ends. His German counterpart oozes villainy and smarminess, forced by Katherina's utter belief in his goodness to mend his ways until the ultimate scene. All the same jokes are there in the Hollywood version, scene for scene, but the morphing of the villain into a hero in the German version is what makes that film an exalting and memorable experience, traveling from dark cynicism to -- yes -- a happy Hollywood ending!
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