A bumbling pants presser at an upscale hotel's valet service nurses an unrequited crush on a Broadway star. He gets more than he bargained for when she agrees to marry him, to spite her womanizing fiance, and encounters Nazi saboteurs.
Miss Winters is a dancer with the Tommy Dorsey Orchestra and is asked to secretly transport a prototype magnetic mine to Puerto Rico. She thinks that she is working for the US Government, ... See full summary »
Bob Gordon is staging a new Broadway Show, but he is short of money. He gets an offer of money by the young widow Lillian, if she can dance in his new show. Bert Keeler, a newspaper man, ... See full summary »
Acrobat Eddie Marsh is in the army now. His first act is to become friendly with Kathryn Jones, the colonel's pretty daughter. Their romance hits a few snags, including disapproval from her... See full summary »
A contrived misunderstanding leads to the breakup of a songwriter and his fiancée. She returns to work as a gym teacher at an all-girls school, but a legal loophole allows the man to enroll as one of her students.
Johnny Brett and King Shaw are an unsuccessful dance team in New York. A producer discovers Brett as the new partner for Clare Bennett, but Brett, who thinks he is one of the people they lent money to gives him the name of his partner.
Constance Shaw is a dance star on Broadway, Joseph Rivington Renolds is a keen fan of her. After she is fed up with her fiance, she meets Joseph and marries him, because she thinks he is the owner of a mine. But that's a misunderstanding, he works at a cleaning shop. After disturbing rehearsals he is thrown out of the theater, but when he sneaks in again, he discovers an actor talking about a bomb he wants to set in the theater to blow up an ammunition store next door.Written by
Stephan Eichenberg <email@example.com>
No one seems to point out that his film is a remake of an earlier film Buster Keaton made for MGM titled "Spite Marriage", with many of the visual gags pulled directly from that earlier film with almost no changes. So as well as Red Skelton did in this, an earlier genius had done it first. Many of the best sight gags were lifted note-for-note from Keaton. The two films differ greatly in their sub-plots, but the core premise is the same. If you liked this movie, you should seek out the earlier film; a lot of it is genuinely funny. Although not Keaton at his peak (he was hampered by the MGM-imposed studio system), any Keaton is worth seeing.
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