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Palmy Days (1931)

Approved | | Comedy, Musical, Romance | 3 October 1931 (USA)
An assistant of phony psychic leaves the fraudulent business and becomes an efficiency expert.


A. Edward Sutherland (as Edward Sutherland)


Eddie Cantor (story and dialogue), Morrie Ryskind (story and dialogue) | 2 more credits »


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Complete credited cast:
Eddie Cantor ... Eddie Simpson
Charlotte Greenwood ... Helen Martin
Barbara Weeks ... Joan Clark
Spencer Charters ... Mr. Clark
Paul Page ... Steve
Charles Middleton ... Yolando
George Raft ... Joe - Yolando's Henchman
Harry Woods ... Yolando's Henchman


Musical comedy antics in an art deco bakery (motto: "Glorifying the American Doughnut") with Eddie Cantor as an assistant to a phoney psychic, who is mistaken for an efficiency expert and placed in charge. Complications ensue when the psychic and his gang attempt to rub the payroll. Written by Ken Hanke

Plot Summary | Add Synopsis


Oh, Miss Martin You Simply Carry Me Away!








Release Date:

3 October 1931 (USA) See more »

Also Known As:

A nő már hajlandó See more »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Mono (Western Electric Equipment)

Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


Fourteen-year old Betty Grable (the film was already completed before she celebrated her 15th Birthday), is easily recognizable as the Bakery Girl who takes the order for the chocolate cake with the pansy on it in the opening sequence, and then proceeds to lead the chorus line in the Bend Down Sister number. See more »


In the scene where Eddie Cantor sings "There's Nothing Too Good For My Baby" in blackface, the sign above the loud-speakers on the outside is misspelled: "GLORIFIYNG THE AMERICAN DOUGHNUT". See more »


Eddie Simpson: Love is grand, simply grand!/ I'm in love, so you'll understand/ Why I rave. It's hard to behave!/ She's so cute, she's so sweet,/ I consider it such a treat/ To do nice things for the one I adore/ Baby wants to shop and then/ I take her down to the five-and-ten/ There's nothing to good for my baby!/ Baby likes a limousine,/ I show her one in a magazine./ There's nothing too good for my baby! Baby wants lots of love?/ Baby gets lots of love!/ Baby wants petting? Baby gets petting!/ That's what ...
See more »


Featured in Vito (2011) See more »


There's Nothing Too Good For My Baby
(1931) (uncredited)
Music and Lyrics by Harry Akst, Eddie Cantor and Benny Davis
Sung by Eddie Cantor
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User Reviews

Glorifying The American Musical
12 November 2012 | by SpondonmanSee all my reviews

First off: I've always liked this one - I thought it Eddie Cantor's best film, maybe partly because the 2 main songs in it were so wonderful and summed up the early Hollywood musical for me. Second: it's a classic anyway. Third: coming back to it after a 15 year gap brings it home to me just how weird this would probably appear to the unwary who stumble across it. Notwithstanding its relentless wit and charm, belief in character, plot and set logic must be totally suspended for the 77 minutes to get the most out.

Eddie is mistakenly employed as Efficiency Expert by scatty owner of an art deco bakery run by scantily clad females. He falls in love with the boss's daughter whilst gangly Charlotte Greenwood falls for him; meanwhile machinating phoney séancer Charles "Ming" Middleton and his henchmen are machinating in the background after their chance to rob the boss. The workers exercise routines may be coyly exploitative - but remember many Japanese multinational companies around the globe still use similar if more updated techniques on their benighted employees. Millions back then were probably thinking how lucky all the Goldwyn girls were to have a job, even if only as delightful looking objects. Favourite bits: Bend Down Sister sung by Greenwood and the girls with some nice patterns arranged by Busby Berkeley; There's Nothing Too Good For My Baby (but a Black-Face routine warning goes out for those with a weak constitution) – delivered with such vim; Yes Yes! My Honey Said Yes Yes! (at the engagement party with even nicer patterns. Astounding to think he never recorded it commercially); Greenwood's admission that Cantor was the key to her ignition (Roll over R Kelly); at the séance Greenwood being surprised it was her dog talking to her; many more - the smart ass one liners come so fast it's hard to pick the best.

Cantor was an incredible performer with zest and vitality up to the max, but it appears as time goes by he (with Al Jolson) becomes more and more of an acquired taste. This film is fast funny and farcical as well as far-fetched fanciful and fluffy; I love it - open not only your mind but your heart. Ya-da-da and Ohyoudon't, that's what Eddie had plenty of.

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