A pilot of a B 29 meets Louise Anderson, a singer in a New York nightclub. He falls in love with her, but he had to leave next day for action in the Pacific. He lets paint her picture on ... See full summary »
When the nephew and his friend of Phyllis Carter are killed in an automobile crash while under the influence of narcotics, she persuades Police Lieutenant Jim Hahan to use her as an ... See full summary »
Three working girls in Budapest pool their resources to get a better apartment and impress their dates. One dates a nobleman and, learning of her rejection by him, considers poison. Another... See full summary »
When spoiled young heiress Maggie Richards tries to charge some gasoline at an auto camp run by Bill Davis, he makes her work out her bill by making beds. Resolving to get even, she ... See full summary »
Olivia de Havilland,
Mary, a working girl, shares a Greenwich Village apartment with Jack, an artist-night watchman. They share the apartment on a shift basis never seeing each other. Mary develops a hearty dislike for Jack until she meets him.
William A. Seiter
Two young office workers working at the same large firm secretly marry and defy their employer's policy against coworker fraternization. When the marriage is discovered, Margy (Turner) is ... See full summary »
Gambler and bookmaker "Odds" Owen decides that the insurance racket is a business that offers better odds and less risk, and this appeals to him and he sets up shop. He underwrites anything... See full summary »
There may be a laugh or two buried somewhere in this leaden comedy, but the 70-minutes are now of interest mainly to fans of noir icon Gloria Grahame. Looks like someone tried to adapt sophisticated European comedy to the popular American screen, and it might have worked with a different male lead. Unfortunately, Dutch-born Phillip Dorn makes a very good Nazi but a very poor Cary Grant. His efforts at mugging or delivering romantic dialogue are almost painful to sit through, and bring down the whole effort. Nor does it help that director (Whorf) is a first- timer with no apparent feel for the challenging material. Youngsters Thompson and Grahame do provide lively relief, but are facing what is ultimately a brick wall. And poor Mary Astor, she deserves so much better, but is now apparently on the MGM downgrade. In fact, it's hard to believe this is an MGM production, with its two or three cheap-jack sets that more resemble Monogram than the so-called Tiffany of studios. My guess is that the production was slapped together to meet eager wartime demand for escapist entertainment. This one may fall flat, but at least there's Grahame's special brand of pouty-lipped vamping.
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