Love Among The Millionaires was the third Paramount film to feature Clara Bow performing musical numbers; it was also the second & final Clara Bow film where the same musical numbers were written to be part of the plot. See more »
Some of my favorite pictures, THIS GUN FOR HIRE; ROMAN SCANDALS; THIS IS THE NIGHT; and some early Clara Bow talkies, were directed by Frank Tuttle. I know he had style, but perhaps the man had patience, for it is written in many places how awful the talking picture experience was for Miss Bow. Tuttle certainly had a knack for keeping things light and entertaining. LOVE AMONG THE MILLIONAIRES was not an easy film to locate, and once I did, I found I must continue my search, for what's available is in pretty lousy condition. In spite of this, Bow manages to shine through, and very often does so with flying colors. Supported by three notorious scene stealers, the best that can be said is that Mitzi Green out-stole the combined efforts of Stu Erwin and Skeets Gallagher. Mercifully, this only effects Clara Bow one time, but unfortunately, it is a glaring one time. Bow does a nice job delivering her songs with inspired pizazz, especially the wordy one's like "Believe it or not, I've found my Man," and "That's Worth While Waiting for," and the just terrific, engaging title duet with Stanley Smith, but she is all at sea trying to put over the best song in the show - "Rarin' to Go!" Not a great singer, Bow could nevertheless sell the goods in a natural, savvy manner that most of the early talkie performers wish they'd had on tap, but when it came to this highly typical fox-trot, she is both visually and aurally flustered. What makes this moment worse is that she is soon followed by her kid sister, portrayed by Mitzi, who launches into her own verse of the song and brings the whole house down. Green was a Vaudevillian, the child of Vaudevillians, and with Vaudeville pumping through her veins it certainly wasn't her fault they handed her that song at that unfortunate moment in the film. This error aside, the picture is a Depression-ready Cinderella tale made palatable by a marvelous match between Bow and Stanley Smith (who has never been better than in this film). As with Astaire and Rogers, Smith instantly gives Bow some class while she unselfishly and unavoidably infuses her co-star with sex-appeal, you know, that girl just couldn't help it. Watch for Connie and Joan's sibling, Barbara Bennett, in one of her few film roles, as Smith's sister.
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