John Mills (Robert Miller), Greta Mosheim (Vera Hart), Norah Howard (Anne Fisher), John Robertson Hare (Henry Butterworth), Mark Lester (Miller, senior), Jack Hobbs (Peters), Margaret Withers (Mrs Hart), Paul Graetz (Hart), Glennis Lorimer (Molly), Hay Plumb (chauffeur).
Directors: GRAHAM CUTTS, AUSTIN MELFORD. Screenplay: Austin Melford. Adapted by C. Stafford Dickens and R. Benson from a work by V. Miklos and V. Laszlo. Photography: Mutz Greenbaum. Film editor: Charles Frend. Art director: Alfred Junge. Dresses: J. Strassner. Wardrobe: Marianne. Music composed by Mischa Spolianski, directed by Louis Levy. Songs: "Car of Dreams" (Mills, Mosheim, reprized chorus) by Mischa Spolianski (music), Frank Eyton (lyrics), "Goodbye Trouble" (Mills and chorus, reprized Mills, reprized chorus) by M. Sigler, A. Goodhart, A. Hoffman, "Do a Little Good to Someone" (Howard, Hare) by Mischa Spolianski (music), Frank Eyton (lyrics). Sound recording: A.C. O'Donoghue. British Acoustic Film Sound System. Producer: Michael Balcon.
Copyright 1935 by Gaumont-British Picture Corporation, Ltd. Not theatrically released in the U.S.A. Released in the U.K. through Gaumont: December 1935. Australian release through 20th Century-Fox: December 1935. 72 minutes.
SYNOPSIS: Musical instrument factory heir falls in love with lowly- paid employee.
NOTES: In Hungarian, surnames are put first, first names last. Thus on the Hungarian film Meseauto, of which this movie is a remake, the writers are credited as Vadnay Laszlo and Vitez Miklos. In English, the names have to be transposed, and if you want to use initials these names should then come out as M. Vitez and L. Vadnay. I don't know anything about Mr. Vitez's career, but Vadnay wrote many scripts in Hollywood including some of my favorite films like "Seven Sinners" (1940), "Tales of Manhattan" (1942), "The Great Rupert" (1949), "I Love Melvin" (1953).
VIEWER'S GUIDE: Suitable for all.
COMMENT: One of the great moments in the cinema occurs about ten minutes into this movie when John Mills suddenly, unexpectedly bounces into song-and-dance with an elaborately staged and brilliantly timed production number, "Goodbye Trouble" (directed with breathtaking fluidity).
Admittedly, Mills is no Fred Astaire, but he does have such a surprisingly pleasant singing voice, it's a shame he didn't pursue this facet of his talents. By contrast the title number is also inventively staged, but this time with a completely static camera against an ever-changing process screen, a sparkling idea which is taken one step further at the concluding reprise when the car literally soars into the clouds, Chitty-Chitty-Bang-Bang style.
Miss Mosheim, though hardly your conventional film beauty (she bears a striking resemblance to Barbra Streisand) is also excellently cast, whilst Norah Howard and Robertson Hare make the most of some splendid opportunities served up by the engaging script. Jack Hobbs also shines as the bogus Miller, as does Paul Graetz as the heroine's reluctant dealer father.
Led by the fast-paced direction (a pity it's not all as super- inventively handled as the "Goodbye Trouble" number, though I doubt if the human mind could absorb a whole film of such unrelenting effervescence), technical credits are superb, and production values absolutely first-class.
Directors: GRAHAM CUTTS, AUSTIN MELFORD. Screenplay: Austin Melford. Adapted by C. Stafford Dickens and R. Benson from a work by V. Miklos and V. Laszlo. Photography: Mutz Greenbaum. Film editor: Charles Frend. Art director: Alfred Junge. Dresses: J. Strassner. Wardrobe: Marianne. Music composed by Mischa Spolianski, directed by Louis Levy. Songs: "Car of Dreams" (Mills, Mosheim, reprized chorus) by Mischa Spolianski (music), Frank Eyton (lyrics), "Goodbye Trouble" (Mills and chorus, reprized Mills, reprized chorus) by M. Sigler, A. Goodhart, A. Hoffman, "Do a Little Good to Someone" (Howard, Hare) by Mischa Spolianski (music), Frank Eyton (lyrics). Sound recording: A.C. O'Donoghue. British Acoustic Film Sound System. Producer: Michael Balcon.
Copyright 1935 by Gaumont-British Picture Corporation, Ltd. Not theatrically released in the U.S.A. Released in the U.K. through Gaumont: December 1935. Australian release through 20th Century-Fox: December 1935. 72 minutes.
SYNOPSIS: Musical instrument factory heir falls in love with lowly- paid employee.
NOTES: In Hungarian, surnames are put first, first names last. Thus on the Hungarian film Meseauto, of which this movie is a remake, the writers are credited as Vadnay Laszlo and Vitez Miklos. In English, the names have to be transposed, and if you want to use initials these names should then come out as M. Vitez and L. Vadnay. I don't know anything about Mr. Vitez's career, but Vadnay wrote many scripts in Hollywood including some of my favorite films like "Seven Sinners" (1940), "Tales of Manhattan" (1942), "The Great Rupert" (1949), "I Love Melvin" (1953).
VIEWER'S GUIDE: Suitable for all.
COMMENT: One of the great moments in the cinema occurs about ten minutes into this movie when John Mills suddenly, unexpectedly bounces into song-and-dance with an elaborately staged and brilliantly timed production number, "Goodbye Trouble" (directed with breathtaking fluidity).
Admittedly, Mills is no Fred Astaire, but he does have such a surprisingly pleasant singing voice, it's a shame he didn't pursue this facet of his talents. By contrast the title number is also inventively staged, but this time with a completely static camera against an ever-changing process screen, a sparkling idea which is taken one step further at the concluding reprise when the car literally soars into the clouds, Chitty-Chitty-Bang-Bang style.
Miss Mosheim, though hardly your conventional film beauty (she bears a striking resemblance to Barbra Streisand) is also excellently cast, whilst Norah Howard and Robertson Hare make the most of some splendid opportunities served up by the engaging script. Jack Hobbs also shines as the bogus Miller, as does Paul Graetz as the heroine's reluctant dealer father.
Led by the fast-paced direction (a pity it's not all as super- inventively handled as the "Goodbye Trouble" number, though I doubt if the human mind could absorb a whole film of such unrelenting effervescence), technical credits are superb, and production values absolutely first-class.