No wonder this turkey is forgotten. It's so incredibly bad on so many levels it's confounding how anyone could rate this with anything higher than three or four stars at best.
Some of the reviews here are HYSTERICAL. One states " A film like this is quite beyond criticism... we should just be grateful it exists..." Uh, NOT. The film, if one could even call it that, is ripe and overdue for criticism. The use of technicolor -- at least in the first 40 minutes of the film -- is ABYSMAL. It's movies like this that no doubt forced Natalie Kalmus to make sure she supervised the color design on 99% of the films made in Technicolor.
The walls are grey or slightly blueish gray. ALL THE WALLS are that color. And then the director puts a woman in a grey dress in front of these grey walls -- brilliant choice! NOT.
The production is so cheap they didn't even spend a time to put some trees or daylight or SKY outside the windows...just that dullish blue-grey color.
The acting is horrible, the lighting is the same throughout the picture -- like everything was lit ouside under a cloudy sky.
In the trivia section it states that "Carole Lombard was originally sought for the lead role, but backed out due to reservations about how she might look in a color film." Right. That must be why she chose to make the FAR superior classic "Nothing Sacred' in Technicolor the year BEFORE this turkey. No doubt she read the paint-by-numbers script, found out who her "leading" man was, and ran for the hills.
There are however two reasons to watch maybe 10-15 minutes of this. One is Joan Bennett, who struggles to rise above the material, but does her best which is far superior than her wooden costar. The other is to get a rare glimpse of one of the greatest male tap-dancers, George "Georgie" Tapps, who's rapid fire routine is as good as Astaire, and with his spinning, is almost like he's the male Ann Miller. A truly amazing, refreshing bit of actual TALENT in an otherwise completely forgettable movie.
And fortunately there's a clip of him on youtube, so you don't have to wade through the slop to see his routine.
Some of the reviews here are HYSTERICAL. One states " A film like this is quite beyond criticism... we should just be grateful it exists..." Uh, NOT. The film, if one could even call it that, is ripe and overdue for criticism. The use of technicolor -- at least in the first 40 minutes of the film -- is ABYSMAL. It's movies like this that no doubt forced Natalie Kalmus to make sure she supervised the color design on 99% of the films made in Technicolor.
The walls are grey or slightly blueish gray. ALL THE WALLS are that color. And then the director puts a woman in a grey dress in front of these grey walls -- brilliant choice! NOT.
The production is so cheap they didn't even spend a time to put some trees or daylight or SKY outside the windows...just that dullish blue-grey color.
The acting is horrible, the lighting is the same throughout the picture -- like everything was lit ouside under a cloudy sky.
In the trivia section it states that "Carole Lombard was originally sought for the lead role, but backed out due to reservations about how she might look in a color film." Right. That must be why she chose to make the FAR superior classic "Nothing Sacred' in Technicolor the year BEFORE this turkey. No doubt she read the paint-by-numbers script, found out who her "leading" man was, and ran for the hills.
There are however two reasons to watch maybe 10-15 minutes of this. One is Joan Bennett, who struggles to rise above the material, but does her best which is far superior than her wooden costar. The other is to get a rare glimpse of one of the greatest male tap-dancers, George "Georgie" Tapps, who's rapid fire routine is as good as Astaire, and with his spinning, is almost like he's the male Ann Miller. A truly amazing, refreshing bit of actual TALENT in an otherwise completely forgettable movie.
And fortunately there's a clip of him on youtube, so you don't have to wade through the slop to see his routine.