Carrie, ambitious young actress and her manager Mike Kilinsky, travel east from Chicago to Long Island so Carrie can see the new mansion that her mother Chris has just purchased. Chris is ...
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In this comedy, a husband and wife want to keep their marriage a secret on professional grounds, and are consequently pursued romantically by an 'other man' and 'other woman', resulting in awkward complications.
An artist famous for his calendar portraits of beautiful women becomes fascinated by a prim and proper professor and tries to get her to pose for his arwork. She declines his offer, but he's determined not to take no for an answer.
Carrie, ambitious young actress and her manager Mike Kilinsky, travel east from Chicago to Long Island so Carrie can see the new mansion that her mother Chris has just purchased. Chris is not there when Carrie arrives by Gallagher, the family major domo, tells Carrie that Chris is in love with the very rich Steve. Chris confesses to Carrie that she has lied about her age to Steve, claiming to be 31, and that the photograph of Carrie is Carrie's (non-existent) Aunt Sadie and Carrie is only twelve. Carrie insists that her mother keep up the masquerade, and she will pose as a 12-year-old. Steve arrives and brings with him his friend Jimmy Blake. More than a little confusion follows including Carrie starting a fight with another "kid" to keep Jimmy from keeping a date with his fiancée and Mike escorting Chris and the "under-age" Carrie to a night club, and other incidents that only tend to prove that Steve and Jimmy aren't the brightest bulbs shining. Diana Barrymore is better as the 12-...Written by
Les Adams <firstname.lastname@example.org>
A chance to see Diana Barrymore at the start of her very brief heyday
Definitely downmarket reworking of The Major and the Minor was meant to be the launching pad to stardom for doomed wild child Diana Barrymore.
She shows promise which had she been able to wrestle her demons and not self destruct might have lead her to a decent career. She and the slipping Kay Francis make an excellent physical match as mother and daughter and Diana handles the comedy demands of the script well but leading man Bob Cummings is no Ray Milland and director Henry Koster is by no means Billy Wilder.
Also the original's sense of whimsy has been replaced by a thudding foolishness which robs the situations of much of their charm.
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