A handsome plastic surgeon has a beauty clinic, where many a beautiful client falls in love with him. His unnoticed secretary is in love with him, too.A handsome plastic surgeon has a beauty clinic, where many a beautiful client falls in love with him. His unnoticed secretary is in love with him, too.A handsome plastic surgeon has a beauty clinic, where many a beautiful client falls in love with him. His unnoticed secretary is in love with him, too.
Rafael Alcayde
- Rolando
- (as Rafael Storm)
Storyline
Did you know
- TriviaHelen Mack replaced Carole Lombard, who refused to do the role.
- Quotes
Dr. Maurice Lamar: So, you're Madam Caron's husband, huh?
Marcel Caron: I am, yes. On those rare occasions when you're not messing around with her.
Dr. Maurice Lamar: Messing around? I'll have you understand...
- ConnectionsFeatured in Hollywood: The Gift of Laughter (1982)
Featured review
Underratedly wacky comedy
An underrated picture of veritable wackiness, KISS AND MAKE UP is a forerunner to the classic screwball comedies of the late-thirties and early-forties. The storyline of a progressive plastic surgeon (Cary Grant) who becomes involved with his greatest creation (Genevieve Tobin) has a great FRANKENSTEIN-esquire aura that contains some surprisingly dark overtones for a film comedy of this era a darkness which is present, but not really explored. The film is benefited greatly by Cary Grant, who gets an early chance to display his grand prowess at farce, which is one of the many qualities that inevitably made him a huge Hollywood star. The rest of the cast is also rounded out acceptably, with Tobin, Helen Mack, and Edward Everett Horton all turning in fine work.
On the downside, the film is extremely episodic, which is not inherently a problem in many cases, but here it prevents the picture from gelling into the knockabout farce it intended to be. Also somewhat detrimental is director Harlan Thompson's approach to the material, which often lacks energy or pizazz; make no mistake, Thompson's work is perfectly acceptable, but I could not help but imagine how truly dynamic the film could have been with Howard Hawks or (later) Peter Bogdanovich in the director's chair. Thompson earns major points for the frantic final chase scene, however, which concludes the film with a thunderous, side-splitting, wig-ripping bang! The movie as a whole is solidly enjoyable, but this terrific end sequence alone raises it's rating by at least a notch or two.
On the downside, the film is extremely episodic, which is not inherently a problem in many cases, but here it prevents the picture from gelling into the knockabout farce it intended to be. Also somewhat detrimental is director Harlan Thompson's approach to the material, which often lacks energy or pizazz; make no mistake, Thompson's work is perfectly acceptable, but I could not help but imagine how truly dynamic the film could have been with Howard Hawks or (later) Peter Bogdanovich in the director's chair. Thompson earns major points for the frantic final chase scene, however, which concludes the film with a thunderous, side-splitting, wig-ripping bang! The movie as a whole is solidly enjoyable, but this terrific end sequence alone raises it's rating by at least a notch or two.
helpful•183
- robb_772
- Dec 11, 2006
Details
- Runtime1 hour 18 minutes
- Color
- Aspect ratio
- 1.37 : 1
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![Cary Grant, Edward Everett Horton, Helen Mack, and Genevieve Tobin in Kiss and Make-Up (1934)](https://m.media-amazon.com/images/M/MV5BNzA4NzcxMjEtMGZlZS00ZjI2LTk0NjQtNjJkNGU2MzQzYjM0XkEyXkFqcGdeQXVyNjA5MTAzODY@._V1_QL75_UX90_CR0,3,90,133_.jpg)