This is the type of drawing room comedy that dominated the 1920's and 30's with both social relevance, a bit of sophisticated humor and a glimpse into a world that depression- era audiences longed to at least get a view of. Frank Morgan is the wealthy patriarch of this family where his son and daughter both find love with partners Morgan is suspicious of.
Miriam Hopkins is the leading lady as Morgan's daughter, falling in love with a noble mechanic (Charles Starrett) while her more irresponsible younger brother (Henry Wadsworth) falls in love with the pretty chorus girl Carole Lombard whom Morgan believes is a gold digger. Delightfully stagy, this is one of the best early sound comedies and features some great lines and a terrifically sassy performance by stage legend on Ina Claire as an eccentric friend of the families.
Lombard has very few scenes, but it's very interesting to see her in several of those with fellow blonde Miriam Hopkins in her very first film. Lombard had been around for a couple of years but was working her way up bit by bit. This film assured her place as one of Paramount's brightest stars, and she shows a penchant for comedy that she wouldn't get to do for a few more years.
Morgan is far from the flibberty- gibbit character that he would play in many of his later films, and it is a reminder that he had started off his acting career in more serious parts. The last scene brings everything together all very nicely with the truth of who each of the major characters are being revealed and Morgan making surprising discoveries as to what class really is.
Miriam Hopkins is the leading lady as Morgan's daughter, falling in love with a noble mechanic (Charles Starrett) while her more irresponsible younger brother (Henry Wadsworth) falls in love with the pretty chorus girl Carole Lombard whom Morgan believes is a gold digger. Delightfully stagy, this is one of the best early sound comedies and features some great lines and a terrifically sassy performance by stage legend on Ina Claire as an eccentric friend of the families.
Lombard has very few scenes, but it's very interesting to see her in several of those with fellow blonde Miriam Hopkins in her very first film. Lombard had been around for a couple of years but was working her way up bit by bit. This film assured her place as one of Paramount's brightest stars, and she shows a penchant for comedy that she wouldn't get to do for a few more years.
Morgan is far from the flibberty- gibbit character that he would play in many of his later films, and it is a reminder that he had started off his acting career in more serious parts. The last scene brings everything together all very nicely with the truth of who each of the major characters are being revealed and Morgan making surprising discoveries as to what class really is.