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Noted psychiatrist Dr. Aaron Sylvester has Hollywood star Carol Corliss as a patient. The beautiful blonde has developed such a phobia toward the large crowds of her adoring fans that she goes around disguised as a buck-toothed, horn-rimmed, homely brunette or wears a veil over her face to mask her identity. The doctor prescribes a vacation to a mountain lake cabin as part of her cure and asks young outdoorsman Emory Muir to accompany her and act as therapist. Muir is not impressed by celebrity, especially hers, and seems more interested in sport fishing and photography. Even when Carol metamorphosizes from her ugly duckling persona back to Hollywood princess, he remains unimpressed. To complicate matters, Carol's frequent movie co-star, ham actor Jay Holmes, has arrived on the scene to profess his love to her.Written by
Although an article in the November 3, 1934 edition of The Hollywood Reporter announced that Fred Astaire would be the lead in this film, RKO borrowed George Brent from Warner Bros. for this production. See more »
If you'd like a decent time passer with a few good moments, then IN PERSON is a pretty good bet. It's highly reminiscent of a later Astaire-Rogers film, CAREFREE, though not nearly as charming. Like CAREFREE, the main theme is psychiatry, though with IN PERSON, Ginger isn't faking a mental illness to get a man, in the story she really did have a nervous breakdown. The film begins after she's apparently cured and how she meets George Brent is one of the strangest and most contrived meetings in film history, as she looks initially like the Elephant Man walking down the street and underneath the hood, she's wearing a ridiculous disguise--all as a part of her treatment(?) for agoraphobia! Apparently, she is playing a famous actress (a big stretch) who is suddenly afraid of people--hence the goofy disguises.
The rest of the film is essentially a "boy meets girl and hates girl but by the end they are in love" sort of film--very, very predictable but also kind of cute in a rather absurd way. Frankly, George Brent and Ginger Rogers were better than this material, but since they are such pleasant personalities, it manages to work--though I agree with Arthur Hausner's review when he describes the film as "forced".
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