MGM B-movie with a lively cast, but more entertaining than amusing. The 70- minutes has elements of screwball comedy, popular at the time. However, the Young- Annabella pairing proves more likable than funny. Contrast this with the Grant-Hepburn pairing in Bringing up Baby (1938). The differential may well be due to the directors: the legendary Hawks in the latter, a relative unknown Thiele in the former. In short, the actors sparkle here, but there's little overall synergy that would build chuckles instead of spreading them out.
Young plays a rich man's wastrel son who likes binges better than his wedding day, which he has drunkenly forgotten. As a result, his fed-up dad (Lockhart) disowns him, while a desperate mom (Barnes) sends him to Switzerland for analysis and therapy. There, he meets charming hotel worker (Annabella) and tries to seduce her. She's tempted but senses his irresponsible nature. The question is whether he will ever change his worthless ways.
I agree with others-- the phony mountain sets are nevertheless both impressive and scary. But then, MGM didn't skimp, even with programmers. Note too, that there's a class element underlying the plot. The script makes clear that Young's character is deformed by an easy life of family wealth, while Annabella's solid values are rooted in a strong work ethic. And catch that episode aboard ship, where a richly attired Young strays into steerage only to get roughed up by working class men. After all, it is 1939 and class issues are a lively concern.
All in all, it's an unexceptional 70-minutes, most notable for a lively and colorful cast.
Young plays a rich man's wastrel son who likes binges better than his wedding day, which he has drunkenly forgotten. As a result, his fed-up dad (Lockhart) disowns him, while a desperate mom (Barnes) sends him to Switzerland for analysis and therapy. There, he meets charming hotel worker (Annabella) and tries to seduce her. She's tempted but senses his irresponsible nature. The question is whether he will ever change his worthless ways.
I agree with others-- the phony mountain sets are nevertheless both impressive and scary. But then, MGM didn't skimp, even with programmers. Note too, that there's a class element underlying the plot. The script makes clear that Young's character is deformed by an easy life of family wealth, while Annabella's solid values are rooted in a strong work ethic. And catch that episode aboard ship, where a richly attired Young strays into steerage only to get roughed up by working class men. After all, it is 1939 and class issues are a lively concern.
All in all, it's an unexceptional 70-minutes, most notable for a lively and colorful cast.