Meek head clerk Kees Popinga realises at the same time as the police that owner De Koster has stripped his Dutch company clean because of his infatuation with a Parisian girl, Michelle. ... See full summary »
A blonde actress is murdered across from a bar. An off-duty cop has been getting pleasantly sloshed, but becomes worried about his innocence when he finds out he was seen leaving the ... See full summary »
A philosophy teacher restless with the need to do something with his life meets a young woman suspected of driving an artist to his death. He finds the very simple Cecilia irritating but ... See full summary »
Frank, a hobo, ends up in a garage-truck stop in the middle of nowhere. Nick Marino, its naive owner, is a good man married to Cora, a young and sexy bitch, half his age. Frank, although ... See full summary »
While returning to Montana from a fling in New York, wealthy Joan Prescott leaves the train, intending to return to the big city. She runs into handsome cowboy Larry and gets engaged. On ... See full summary »
Malcolm St. Clair
Johnny Mack Brown,
Three department store girls--Connie, Franky, and Jerry--share an apartment on West 91st Street in New York City. Each earns little more than 20 dollars per week. Jerry is the sensible one,... See full summary »
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
Limp forties Paramount comedy looks like a schedule filling exercise.
The decline in the output of Mitchell Liesen who was once the sharpest director of the Paramount house style comedies at their peak - "Midnight," "Easy Living" "Take a Letter Darling" - overwhelms this mid forties effort in which the mangled remains of the script for "Midnight" can be glimpsed.
Fanciful theories have been advanced for the fall from grace of Preston Sturges who got the recognition that should have been spread over the whole Paramount dialogue comedy cycle, but the truth is that, by the end of WW2, Hollywood had lost the feel for these fluffy entertainments. The work of Sturges, Leisen, Elliot Nugent and (better) George Marshall all faltered and changed direction.
"Masquerade in Mexico" reveals Leisen as the heaviest casualty with a leaden comedy which could as easily have featured any of the contract talent and remained the same picture - Betty Hutton and Brian Donlevy? Lamour is glamorously got up but no one seems to have any confidence in her, playing plot dialogue over her songs and keeping tha camera at a distance which shows off the decor and Edith Head costumes rather than performance.
Hard sledding this one.
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