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Despite his portrayal of the cheerful and optimistic Jimmy Dobson in this film, Robert Walker was enduring severe bouts of stress and depression. During production he was embroiled in divorce proceedings with his estranged wife, Jennifer Jones, who had left Walker and their children for producer David O. Selznick. The situation left a lasting impression on Walker, who never quite recovered, and battled depression for the rest of his short life. The cast and crew of this film marveled at Walker's ability to portray the chipper Jimmy while he was experiencing such sadness and hardships in real life. See more »
Throughout most of the film, the lighting produces shadows and effects which would be inconsistent with the natural or artificial lighting in the scenes. This occurs both indoors and outdoors. See more »
There's nothing wrong with a little 'happily ever after', though sometimes it is strenuous...
Hedy Lamarr plays a foreign princess who travels with her entourage to New York City in the hopes of meeting up again with a former flame who writes a daily newspaper column (and detests royalty!); while staying in a swank hotel, the princess is befriended by a boyish, charming bellhop who develops a crush on her, despite the fact he's also playing big brother/boyfriend to a bed-ridden girl who lives in his walk-up. Very odd romantic comedy seems to lay the character eccentricities on a bit heavily...but once the mechanisms of the plot take hold, the players seem more at home within this scenario, which is jaunty and friendly more than funny. As the bellboy, Robert Walker doesn't seem to know whether to play his role like a grown-up or a klutzy kid--so he does both; he's very ingratiating with his double-takes and exasperated looks (he gives the hotel receptionist a beaut!), and a lengthy scene early on--with Walker reading a fairy tale out loud to his girl, and indeed the neighborhood--is very tricky yet easily pulled off by the actor. Lamarr is less successful; her royal visitor doesn't require a lot of joy or spontaneity, and she isn't reluctant to show her emotions, but still she's an awfully grim beauty, harboring love's disappointments. June Allyson has the strangest role, that of an invalid girl who can walk but chooses not to (?), but she beams like Judy Garland and her smile is a welcome relief after too much of Lamarr's scowling. There's a nice musical dream sequence that seems a little padded, yet the hotel staff, Agnes Moorehead's Countess, and Walker's cohorts are all a very likable bunch. Not a completely successful fantasy, but a well-produced, well-paced one with lots of happiness to go around. *** from ****
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