The seduction plans of novelist Malcolm Niles go awry when actress Vivian Herford brings along her mother to a candlelight dinner in his New York apartment. When they talk of marriage, Malcolm decides to make a tour promoting his new book, and in a small southern town meets Nancy Briggs at an autographing session at the local bookstore. Nancy is getting married that night, but her fiancé, working in New York, doesn't come back for the wedding, so her family gives her the fare to go to New York to find him. At the same time, Malcolm gets a wire from his publisher and friend, Robert Hanson, telling him to come home because Vivian has left town. Traveling to New York on the same train, Nancy proves to be a pest who Malcolm hopes to avoid once they arrive, but when Nancy can't find her fiancé, she goes to Malcolm, since he's the only one she knows in the city. He is about to kick her out when Vivian returns, so he uses Nancy as an excuse to get rid of Vivian. In the ensuing days, Nancy ... Written by
Arthur Hausner <firstname.lastname@example.org>
There are some nice performances by the stars, but this would-be screwball comedy is short on laughs.
I enjoyed the running gag of Janet Gaynor always thinking she lost something
her purse or gloves - and Robert Montgomery trying to help but running
into trouble himself because of it (especially in the cute ending). And the idea of a small-town homebody having two sophisticated New Yorkers fall for her is inherently funny, but most of the time I found myself not laughing. So the film is a valiant try but no cigars are forthcoming. This was the last film Janet Gaynor made for about 19 years. (The film "The Young in Heart (1938)" was made earlier in 1938 but came out later that year.) Gaynor is perfect as the girl, with Montgomery and Franchot Tone giving good performances.
I was startled at a major goof near the end, when Gaynor's family and Tone's family meet in Tone's apartment. His father is played by Douglas Wood, who has the speaking part. But in some shots we clearly see another man (Charles Richman) in the background standing in for Tone's father. There was no effort to hide him either, and even if you don't know either actor, you just have to know that Wood has a mustache and Richman doesn't. And the all the actors' placement with each of the fathers are totally mismatched. To me, this ranks as the greatest lack of continuity by a major studio ever, and I'd be curious to know why it happened.
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