Aubrey cons Amy into thinking he's a railroad bigwig. After they marry Aubrey overspends in setting up their home. When their financial situation gets dire they go back to her parents house...
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Aubrey cons Amy into thinking he's a railroad bigwig. After they marry Aubrey overspends in setting up their home. When their financial situation gets dire they go back to her parents house until Aubrey changes his ways and they can get on stable footing. When he loses his job he takes one wearing a sandwich board. After he helps Joe sell his patent for a good price and an old railroad deal comes through, he's back on top and ready to live high on the hog again.Written by
Ed Stephan <email@example.com>
The part of J. Aubrey Piper was originally to be played by Lee Tracy, but his contract was terminated by MGM when, during the production in Mexico of Viva Villa! (1934), he got drunk, urinated off a balcony onto a passing patrol of Mexican soldiers (who almost shot him) and was deported from Mexico. Spencer Tracy got the part with the help of Frank Morgan, and afterwards signed a long-term contract with MGM. See more »
The contract that Aubrey signs, with such extraordinary consequences, would not be binding because he had been given no authority by the company to make it. See more »
Studio hacks didn't come any hackier than Charles Reisner, and his inept editing, mise-en-scene (how many useless reaction shots can one programmer contain?), and pacing almost sink this adaptation of a hit stage comedy-drama by George Kelly, uncle of Grace. A prosaic screenplay, surprisingly by Herman Mankiewicz, doesn't help. And the title character, a tediously lying blowhard, wouldn't be interesting to watch if Spencer Tracy, at the beginning of a long and profitable association with MGM, weren't playing him. Tracy brings some variety and emotional ballast to this one-note braggart, whom you might expect to be played by that other MGM Tracy of the day, Lee. Spence even makes him--almost--sympathetic by the rather rushed fadeout. Madge Evans, near the end of her too-brief career, is a lovely and womanly leading lady--you buy the devotion between her and Tracy, though nothing about him seems to warrant it--and Clara Blandick gets lots of footage entertainingly grumping about. And it's hardly the finest moment for the great cinematographer James Wong Howe, but he does come up with a couple of arresting compositions, as well as some expert fakery of New York locations in the first reel.
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