User Reviews

The plot of "It's Love I'm After", Archie Mayo's 1937 film, is a fairly simple one. A famed Shakespearean actor, Basil Underwood (Howard) is set to marry his longtime co-star Joyce (Davis) after a tumultuous courtship. The night he proposes to Joyce (again – this has occurred several times before) a stranger named Marcia (de Havilland) visits his dressing room, professing her love for him, telling him that she has seen all of his work, etc. He finds this intriguing and charming, but on his way to elope with Joyce, Marcia's fiancée Henry (Knowles) comes to visit Basil, asking for his help in curing Marcia's obsession. The two concoct a plan wherein Basil will go to Marcia's house, where her family is throwing a weekend party for guests, and act like a complete ass so that her affection for him will wane, and she will run back into Henry's arms. Basil embarks on his plans with his trusty valet Digges (Blore) with Joyce following close behind to get to the bottom of why she has been ditched – again.

The entire reason why I wanted to watch this film is because I had never seen it, and it features two of my favorite actresses of all time. And while de Havilland and Davis were characteristically wonderful (particularly de Havilland, who was positively luminous in this fairly early role), it was two of the male leads, Howard and Blore, who were the most delightful and humorous. Howard, probably best known as the weak Ashley from "Gone with the Wind", is absolutely hilarious in his role as a self-important, over-dramatic, yet earnest actor. I was often reminded of Rex Harrison, particularly of his performance in the sublime film "Unfaithfully Yours". The combination of intelligence, rapier wit and at times completely moronic behavior was a huge winner in this film. This is the first film I've seen Eric Blore act in, but his role of Digges was another hilarious inspiration. His seemingly stuffy (veddy British) demeanor was in complete conflict with the downright ridiculous situations he willingly participated in. The two were wonderful together, and it looked like they were having a great time doing this film.

Director Archie Mayo has directed films as widely diverse as "The Petrified Forest" (Humphrey Bogart) and "A Night in Casablanca" (The Marx Bros.), but it is clear that he has a true gift for comedic direction. The pacing of "It's Love I'm After" was very quick and the dialogue was whip-smart. I enjoyed this film a lot more than I ever expected to, and since it's one that seems to go under the radar often, I would recommend it to anyone who enjoys classic comedy. "It's Love I'm After" gets a very emphatic 8/10 from me.

--Shelly

A very young Bette Davis is again paired with Leslie Howard, this time in a delightful, frothy comedy about battling theatrical costars. Supposedly the couple was based on Lunt and Fontanne, but I suspect there's a little influence from "Private Lives" as well.

Howard is a riot as the outrageous, narcissistic actor who can't stop getting women to fall in love with him, and Davis is a beautiful spitfire as his costar/fiancé.

Olivia deHavilland is the sweet young thing in this and she's lovely as a starry-eyed woman who thinks she's in love with Howard. Eric Blore is Howard's hapless manservant, and he's hilarious.

This is such a wonderful, witty movie, the kind, alas, that had its heyday in the '30 and '40s and is no more. The beginning scenes, with the two on stage in Romeo and Juliet, whispering insults, is especially funny. It's great to see such a young Davis and deHavilland, too, and Leslie Howard in comedy. This movie is a treasure, not to be missed.

Why this comedy is unremembered is a mystery to me. It's a witty, fast-paced film, all of the stars give good, funny performances and was critically applauded in its time. Howard and Davis, better known for Of Human Bondage and The Pertrified Forest show largely untapped comic talents; in Bondage and Forest, one often outshines the other, but in this film, they seem to go way over the top trying to outdo each other. Of course that's perfect for this movie and their characters, a hammy, battling stage couple who get along even less after De Havilland comes into the picture. Eric Blore provides priceless comic support. If you're a fan of screwball comedy or any of the stars, I highly recommend it.

I bought this film on video cassette online, not knowing what to expect, but since I liked all the stars involved - Leslie Howard, Bette Davis, Olivia de Havilland - I figured I would probably enjoy the film. Enjoy is not the word, I relished it. It was like eating a dark chocolate ice cream cone with chocolate syrup and cherry and whipped cream piled on top. And nutty! Oh, so nutty! What a delight! Other reviewers here have mentioned the plot about a couple of bickering thespians, so I won't repeat it here in detail. I'll just mention my favorite scenes: ALL of them! :)

It's Love I'm After is Leslie's funniest film. He is hilarious, his comedic timing perfect. I burst out laughing whenever he started going on his Shakespeare routines, like picking up the burnt fish at dinner and reciting lines from Taming of the Shrew. I loved the way he and Bette Davis punched each other around, I can just imagine what fun they had playing this couple! And Olivia de Havilland looked so beautiful and sexy, she had great clothes in this film, and her part was all sweetness and light. The one who really steals the picture though is Eric Blore, who almost always plays butlers or waiters in films. The scene where Bette comes upon Leslie and Olivia kissing in the garden and sees Eric desperately doing turkey imitations to warn him of her arrival had me in conniption fits of laughter! Please see this film, you'll love it. 9 out of 10.

Although Bette Davis was not noted for her comedic skills, this is one case (in fact, the best case) of how Davis could adapt her intense, almost neurotic, qualities to screwball comedy with excellent results. Watching her get wound-up to the point of explosion (or would that be implosion?) is one of the great treats of this virtually forgotten film. Leslie Howard is her equal as both the catalyst for and the recipient of her eye-popping fits. And, for those of you who think Davis was never young or beautiful, you are in for a surprise. She's probably never looked prettier.

It's Love I'm After (Archie Mayo, 1937) is just a delight, an incredibly well-written screwball comedy that keeps the expertly-crafted witticisms flying thick and fast. Given the wrong material or the wrong direction, Leslie Howard could appear unbearably smug, but here he gets the role of a lifetime - and makes the most of it. He's a conceited ham, with two eyes for the ladies, who spends most of his time off-stage (and some of it on) warring with thespian girlfriend Bette Davis. Resolving one day to turn over not just a new leaf, but a whole book of them, he's forced to play the last word in unthinking bounders to disillusion the fiancée (Olivia de Havilland) of an old friend's son. It's a great set up: a reformed character having to appear even more reprehensible than before in order to do the decent thing, and it's developed in consistently surprising, imaginative ways.

And then there's the cast. Howard is flawless as the conceited, confused, compromised, increasingly desperate cad - who has more than a little of John Barrymore about him - with Davis giving her best comedic performance as his long-suffering lover, who packs an explosive temper. De Havilland is perfectly cast, both cloying and appealing as the starstruck girl who'll excuse anything her rambunctious idol does, while Eric Blore excels as Howard's valet and co-conspirator. Blore, one of the great supporting comics, is great in everything, but I've never seen him as funny as here. Displaying his customary lack of vanity and willingness to do anything for a laugh, he spends most of one scene making ridiculous bird noises and another displacing his silly toupee. Blore also gets the best line of the film, responding to Bonnie Granville's cry of "I know something you don't know" with one of the funniest, most petulant one-liners I've ever heard.

Drawing on Shakespeare to gets both its pathos and its laughs, in the vein of To Be or Not to Be and Withnail & I, It's Love I'm After is streets ahead of most other golden era comedies: intelligent, romantic and uproariously funny, eliciting the particular buzz that comes with watching something that's clearly very special.

I caught this on TCM as part of the Bette Davis Star of the Month tribute, and I have to admit, I didn't expect much. The thought of Davis, Howard, and de Havilland in a purely comedic film just seemed a little implausible to me. Thankfully, I was wrong; after five minutes, wild horses couldn't have pulled me away!

Howard plays Basil Underwood, the heartthrob of the theatre world. While touring the nation in Shakespearean plays, he builds quite a reputation as a lady's man, breaking hearts from sea to shining sea. On the eve of his elopement to his long-suffering co-star / fiancé Joyce (Davis), Basil is faced with a dilemma: in order to redeem himself in the eyes of an old friend, and in a vain attempt to make resolution for his many indiscretions with the fairer sex (the big blonde in New Orleans, the redhead in Denver, etc.), he has to make himself out to be a complete cad and cause a young fan (de Havilland) to hate him. The rest of the plot revolves around Basil's attempts to become a changed man, rather than the "bad odor" he is affectionately called at the beginning of the film.

Howard shines in this film; you can tell that he is really having some fun in this one. He plays the cad well, and is enjoyable at it. Davis has a basically supporting role, but handles what she is given with ease and sarcasm. De Havilland is a bundle of girlish charm and energy, and her blind adoration of Basil makes for some really cute situations.

The star, however, is Eric Blore, who plays Digges (Basil's valet and, essentially, his conscience). Forever packing (and unpacking) the bags and keeping track of Basil's dirty deeds, this man puts up with it all and handles it with unnerving calm and a sharp wit. Oh, and he does a mean bird call!

Although not the best of any of the primary players' careers, this is certainly a must-see for any fan of Howard, Davis, and de Havilland, or anyone just looking for a cute movie to make them smile. The last time I laughed this hard at primarily dramatic actors in a movie together was when I saw VALLEY OF THE DOLLS recently...the major difference is that Howard, Davis, and de Havilland intended to make a comedy. Enjoy!

It's Love I'm After concerns a famous acting couple (Leslie Howard and Bette Davis) whose fighting often outweighs their love for each other. When a young girl (Olivia De Havilland) develops an intense crush on Howard, her fiancée takes it upon himself to make a deal with him to be mean to her. Howard does it to improve his moral standing but takes a few relapses as everything he does excites Havilland even more. This is a truly funny comedy with an excellent cast.

Olivia De Havilland appears here in an early role. Her enthusiasm and innocence make her seem younger than she is and very high-strung. However, her performance is perfect for the part.

It seems that in Hollywood there were two legitimate British actors: Howard and Charles Laughton. Laughton's weight forced him into fatherly roles and Howard's good looks pushed him toward romantic leads. Howard's presence in this film reflects his talents as an actor and this stereotype but the two are incorporated brilliantly. He shines the brightest.

Bette Davis made too few film comedies. The only ones that come to mind are this film, THE BRIDE CAME C.O.D., THE MAN WHO CAME TO DINNER, JUNE BRIDE, ALL ABOUT EVE (yes, it is actually a witty comedy), and POCKETFUL OF MIRACLES. There probably are others that have slipped my mind. In MR. SKEFFINGTON, Fanny does have a flibbertigibbet type of character, frequently breaking off luncheon dates with an unseen female friend, and annoying people with her selfish problems (the scene with George Coulouris as Dr. Byles is hysterical for his justifiable explosion). But most of the film is serious about her mistreatment of the loving Job Skeffington. Of the comedies I listed, ALL ABOUT EVE and JUNE BRIDE are best for script and performance highlights for Davis. Monty Wooley, Mary Wickes, Jimmy Durante, and Anne Sheridan are far funnier in THE MAN WHO CAME TO DINNER. The comics who control POCKETFUL OF MIRACLES are Thomas Mitchell, Edward Everett Horton, and (best of all) Peter Falk. THE BRIDE CAME C.O.D. is Davis's best film with Warner Brothers co-superstar Jimmy Cagney, and it is her best piece of slapstick - but she hated it because she spent several scenes removing cactus needles from her rear end (literally).

IT'S LOVE I'M AFTER is very funny, but it is also interesting as the last film Davis did with Leslie Howard. They had been together in her first great dramatic hit, OF HUMAN BONDAGE, and then had played the tragic, late blooming lovers, in THE PETRIFIED FOREST. This is their only comedy after all the earlier tragedy (Davis dies in BONDAGE, and Howard is gunned down by Humphrey Bogart in FOREST). The three films should be shown together by some film society.

They play a famous "Lunt and Fontaine" or "Southern and Marlowe" acting pair from the stage, who can't keep their egos from constantly clashing. Davis, at the start of the film, is performing a love scene with Howard, and has taken the trouble to eat onions (lots of 'em) before they go on. He goes through the scene without revealing how he detests her (at present) though he manages to whisper to her his true feelings. Only one year earlier Howard had played Romeo in M.G.M.'s production of the Shakespeare play, with Norma Shearer as Juliet. Many critics felt that Howard and Shearer, no matter how well they emoted, were too old for the parts (which call for teenage types). I defy you to even accept their performances in the balcony scene, etc., after seeing Howard and Davis in this film.

Due to the script, Davis disappears for too many scenes, while Howard has to try to undue the schoolgirl crush of Olivia de Havilland. He does this, assisted by Eric Blore, by being boorish and demanding at the home of de Havilland's father, George Barbier. It does not work according to every plan Howard hatches, although de Havilland does managed to lose interest in him at the end (with the aid of Davis, and Howard's pompous ego). The film works pretty well as a comedy. May I recommend the sequence involving Blore trying to give a signal to his boss, and finding himself at war with some birds. Leslie was quite good in the film, but Eric was ... well Eric Blore was always the dependable comic actor.

The fact that almost nobody has heard of or seen this movie doesn't diminish it's delightful comedy. Warner Brothers was hardly known for producing strong comedies, much less those starring Bette Davis, Olivia de Havilland and Leslie Howard. After watching the fun Davis and Howard seem to be having, one wishes there were more of their comic performances to enjoy on film. De Havilland did make some other wonderful comedies at Warners (Strawberry Blonde, Male Animal) Passage of time continues to confirm her standing as probably the least celebrated best actress in Hollywood. She never achieved the "star status" of several lesser actresses. (You can make your own personal list.) Yet she continued to deliver outstanding, intelligent performances, displaying a tremendous range of ability. Check out "Light in the Piazza."

The supporting cast is also full of expert performances. Eric Blore's bird impersonations is hysterical!

After the seriously intense 'Of Human Bondage' and 'The Petrified Forest', Leslie Howard and Bette Davis were reunited for the final time in this frivolous screwball comedy with occasional saucy asides that go about as far as the Hays Code would then permit. It jokily begins with the two playing Romeo and Juliet on stage, which Howard (aged 43) had just played in an MGM super-production with Norma Shearer and John Barrymore, whose role in 'Twentieth Century' this strongly recalls.

Davis looks great, but her role is this time very secondary; and it's a shame she shares so little screen time with the radiant young Olivia de Havilland, who supplies most of the film's romance, along with Eric Blore (in a centre-parted toupee, wing collar and dinner jacket that make him look like Renfield) as Howard's dresser whose command of Shakespeare far surpasses Howard's, and who he follows about throughout the film devotedly wagging his tail and imitating birds. Also funny in smaller parts are Spring Byington, Bonita Granville, E.E.Clive and Grace Field.

I'd never even heard of this one until it came out on DVD-R courtesy the Warner Archives. I gave it a try and I was delighted. I've seen every pair of the three main stars here together in different films before (Bette Davis, Leslie Howard, Olivia De Haviland), but never all three at the same time. The pairings I am speaking of were all in serious films, and it is great to see these three try out their comic chops and try them out together. Leslie Howard and Bette Davis hardly ever got a chance at this type of role, and Olivia De Haviland did so on several occasions, but so few people remember those performances.

The film concerns a pair of Shakespearean actors. Basil Underwood (Leslie Howard) and Joyce Arden (Bette Davis). They are involved on and offstage, and are constantly fighting and making up. One night Marcia West (Olivia De Haviland) sees a performance of Romeo and Juliet and falls instantly in love with Basil, she even goes backstage and tells him so. This has Marcia's boyfriend in a panic and he asks Basil to come to the West estate and behave so badly as to end Marcia's feelings for him. Basil, just recently making a resolution to not be so selfish, decides to do this as a good deed. However, Joyce follows Basil to the estate, and Marcia does not react as planned to Basil's actions. For that matter, Basil doesn't act as Basil planned. Also a delight is Eric Blore as Basil's valet. He steals every scene. Highly recommended.

Leslie Howard and Bette Davis team up for the third and last time in it's Love I'm After. Davis who played both ends of the emotional spectrum (hateful zest in Of Human Bondage, sentimental romantic in The Petrified Forest) with the sensitive Howard does a campy version of both while Howard manages to overact overacting as an egotistical cad.

Basil Underwood (Howard) is the toast of the Broadway stage with legions of fans. Engaged to Joyce Arden (Davis) he continually seeks out ways to put off the marriage. When he visits an ardent fan Marcia West (Olivia De Havilland) as a favor to someone to break her of her wanderlust plans go awry. In spite of the most boorish behavior Marcia breaks her engagement to pursue Basil further complicating his relationship with Joyce.

It's Love I'm After has some raucous moments but lacks the restraint of more successful and subversive screwball comedies of its era. Director Archie Mayo, who got such touching performances from Howard and Davis as the star crossed lovers in Forest allows them to run amok from start to finish with one strident flourish after another that wears this film out two thirds of the way through.

Olivia DeHavilland displays an energized innocence as Marcia while Eric Blore as Underwood's valet gets the biggest laughs (especially in his scenes with Howard) but the rest of the cast is left to fend for themselves with a series of indignant and confused expressions making it an untapped reservoir that in the surer hands of screwball progenitors like Sturges and Hawks might have displayed more control and thrown more strikes.

Feuding thespian lovers battle over a lovestruck woman in the man's life, a Shakespeare fan who has become smitten from the footlights. Farcial piece with too few jokes, too much bland patter and set-ups for laughs that never arrive. Bette Davis is given the short shrift in favor of fey Leslie Howard and girlish Olivia de Havilland, a terrible pity since this is when she was at her peak in motion pictures. Movie begins well, but falls off sharply after the first handful of scenes.

While Bette Davis and Leslie Howard are amusing as two battling lovers who also happen to be ham actors, the surprise of this little comedy is Olivia de Havilland as the moonstruck girl with a crush on matinée idol Basil Underwood (Howard). De Havilland never had a better ingenue role and she makes the most of it. Amusing to note that three years later she and Howard would be paired as Melanie and Ashley in 'Gone with the Wind'. Strange that previous comments fail to even mention her presence in this film! Even Bette Davis admitted that de Havilland had the better role with more footage--and claimed to dislike the film. However, all three leads are excellent--with Eric Blore stealing scenes as the butler frequently told by Leslie Howard to "Pack my bags!" Bonita Granville is rather irritating as de Havilland's brat sister and Spring Byington is her usual chipper self. Patric Knowles, as de Havilland's boyfriend and ultimate love partner, is wonderful in his amusing role as the man who sets the whole plot into action. Catch this one on Turner Classic Movies if you can. It's well worth it. Leslie Howard shows a real flair and delight in playing his ham actor--one of his finest comedy roles. A highlight is a confrontation between him and de Havilland when she declares: "I was in love with Clark Gable last year. If I can get over him, I can certainly get over you!" Screwball comedies don't get any better than this!

Leslie Howard and Bette Davis who even got their notices in The Petrified Forest after everyone stopped raving about Humphrey Bogart were teamed for a second time in one of the best screwball comedies of the Thirties. It's Love I'm After casts the two of them as an ever bickering stage couple who just can't quite get to the altar, mainly because of Howard's straying ways. It's pretty obvious at least to me that the pair are playing a version of Alfred Lunt and Lynne Fontanne. Notice how similar the chemistry between Davis and Howard is and compare it to the only theatrical film the Lunts did, The Guardsman.

Olivia DeHavilland plays an eager fan who Davis catches in Howard's dressing room after one performance. That's just one would be groupie too many and she's had it with him personally and professionally. Then Olivia's boyfriend Patric Knowles shows up and wants Howard for a personal engagement. He invites Howard to spend the weekend with him at DeHavilland's family. The idea being for Howard to behave beastly with the family in the hope that boorish behavior will cure DeHavilland of her infatuation.

Off goes Howard with faithful valet Eric Blore and that starts everything. Let's just say that Olivia takes a lot of convincing and for Leslie the flesh is most weak.

Director Archie Mayo did a fine job with the cast Warner Brothers assembled. As he was one of Warner Brothers contract directors he was not given his due here. In fact I think It's Love I'm After would be better known if someone like Leo McCarey or George Cukor had directed it. But it's hard to see how it wold have been directed better.

Best in the cast is poor suffering Eric Blore who decides to use his talent for bird mimicry to help give Howard the high sign when he's with DeHavilland. Of course her family has an Aviary and how could poor Blore know? The results are hysterical.

It's Love I'm After is a real comedy gem not to be missed.

Basil Underwood (Leslie Howard) and Joyce Arden (Bette) play stage actors that are on again, off again lovers. Mostly off because he is a cad with a wandering eye. She forgives him time and again until he gets caught up in some crazy scheme to get a young lady to fall out of love with him so that she will return to her fiance. One of my favorite Bette lines ever is when she is talking to the lovelorn young lady, Marcia. Marcia: I don't think there are words to describe him, do you? Joyce Arden: Well, there probably are, but one would have to have a very extensive vocabulary... Fast paced, well written and very funny. The sidekick Digges, Basil's valet (Eric Blore) completely steals the show. Great ongoing jokes about Digges' ability to make bird calls and he is constantly packing and unpacking as Basil keeps changing his mind on whether he is staying or going. Best of all is the points game the two men play, where Digges rates Basil's behavior and reputation in each town he's acted in. Basil is firmly in the red, point wise and really wants to turn over a new leaf but he keeps getting distracted...

A fun film for anyone who would like to see a lighter side of its two stars, Leslie Howard and Bette Davis.

Howard has never done much for me as an actor, but I liked him in this better than I've ever liked him in anything. He plays an arrogant stage star who decides, in a moment of self reflection, to intentionally sabotage a young fan's infatuation with him in order to clear the way for the fan's beau. This requires Howard to act like a pompous ass, but of course, in typical screwball comedy fashion, every time he tries to turn the fan off with his behavior, he ends up making her fall for him all the harder.

Olivia de Havilland plays the stagestruck lass, and it's refreshing to see her being both ditzy and contemporary. And Eric Blore steals many a scene as Howard's dresser, who's as infatuated with him as the young girl. But still the movie manages to belong to Davis, who has far less screen time than Howard, but asserts her magnificent effect on an audience by absolutely commanding the screen every time she appears. I don't care what movie it is, but if Davis is in the shot (she could be standing in a corner in soft focus, not doing anything and not uttering a word) I find that I just can't look anywhere else.

Grade: B+

It is very hard to resist a cast that included Bette Davis, Leslie Howard, Olivia De Havilland and Eric Blore. It was always great seeing them individually in their films, and all featured and starred in many very good to classic films. Seeing them together in the same film, with an inspired concept and featuring my personal favourite type of comedy (the witty and sophisticated kind) had potential to be an absolute joy, and that was exactly whar 'It's Love I'm After' was.

Of all the "classic"/golden age films seen recently, 'It's Love I'm After' is up there with the best and most enjoyable. It is a rare case of it not mattering that the story is very simple and doesn't contain an awful lot of surprises, because the quality of the performances, the exceptionally high quality of the comedy and the constant lively verve stopped me completely from caring and stopped me from getting distracted by something that can be an undoing in film, television etc.

The cast are a huge part of the appeal. Davis is a consummate pro and shows how versatile she was as an actress by displaying deft comic timing and being more than comfortable in it. De Havilland, her and Howard having more screen time than Davis, is positively luminous and is a snappy foil. It was no surprise that Blore would be a scene stealer, he often was, and he proves himself to be absolutely hilarious support, bird calls has seldom been funnier in any film before or since. The biggest surprise in 'It's Love I'm After' of the cast was Howard, showing that he could be funny and this was his most gusto-filled performance.

Where 'It's Love I'm After' also scores highly is in the script, which crackles in the best of ways. It's witty, it's sophisticated and most importantly it's incredibly funny, the one-liners an example of how to do one-liners in film. The story is simple but full of energy, and while it is very over the top it is wickedly so. The theatrical setting is used perfectly and De Havilland's clothes especially are gorgeous. It's a beautifully directed film too and the chemistry between the actors crackles as much as the script, even the more romantic parts.

Problems were very, very few. The only thing that didn't work for me was Bonita Granville, who is irritating beyond belief and shows over-acting at its most impossible to enjoy.

Summing up, great and one of my favourite recent viewings. 9/10

Basil and Joyce (Leslie Howard and Bette Davis) are hammy stage actors who have an incredibly tempestuous relationship. They have been engaged repeatedly...and soon end up breaking it with yet another enormous fight. However, this time Basil vows to be a better person and make the marriage work...and to do this he wants to do something decent and unselfish...for once. Henry is the son of an old friend and Henry is beside himself because his dopey fiancee, Marcia (Olivia de Havilland), is so smitten with Basil that she goes to all his performances. He asks Basil to do him a favor...come to the house and act like a boorish lout so that Marcia gives up her infatuation.

This movie features actors acting like over-actors. For Joyce and Basil, it fits their characters. But some of the rest of the cast overact shamefully. De Havilland, one of my favorite actresses, overdoes it here as the smitten lady. Worse is Bonita Granville, who usually was a good child actor but here she overacts so much you cannot help but hate her AND be pulled out of the story. I blame the director for these excesses...and the acting was at times most excessive. It's a shame, as it's generally a good story and stars some of Warner Brothers' best....but the overacting was a serious problem here. I give it a 6...when it easily could have earned an 8 or more.

Here is what the article in Life Magazine said about 'Love': "Leslie Howard's career as a comedian, which got off to a good start in 'Stand-In' (LIFE, Nov.1) advances famously in 'It's Love I'm After.' This Warner Bros. farce opens with the death scene of 'Romeo and Juliet.' Mr. Howard, who played the scene straight with Norma Shearer only a year ago, this time expertly burlesques it with Bette Davis, carrying on a private feud between the lines and biting his Juliet's ear when she leans over to kiss him. 'It's Love I'm After,' as these pictures indicate, contains a lot of loving. The most violent of it is done by Olivia de Havilland, a young heiress who becomes infatuated with Mr. Howard, the great actor. For the sake of her distraught fiancé, Actor Howard goes to her home, resolved to cure her infatuation by proving himself a cad. His efforts fail but their gaiety has been ensured by Screenwriter Casey Robinson, who contributes some of the season's funniest lines."

This much should wet your appetite for this hilarious movie. Patric Knowles and Eric Blore add to the insanity. A much looked over and neglected movie. If you love Howard and want to see him at his comical best, I highly recommend this long-lost classic to the genre of screwball comedy.

This Warner Bros. comedy seems to have a great premise, but it misses its mark in the end. The premise is that there are two unhatched love affairs, both needing a little extra push from the outside.

The stage couple, Basil (Leslie Howard) and Joyce (Bette Davis), perform well together on stage but have tendency to fight like Beatrice & Benedick offstage.

The real life rich couple, Maria West (Olivia de Havilland) and Henry Grant (Patric Knowles) have everything needed for a successful marriage. So, why does Marica swoon over someone like Basil while watching him perform on stage rather than feeling this way with Henry? To find out, Henry hires Basil to swoon over her in person to prove a point.