Carol feels, for whatever reason, that her husband, John, has grown indifferent to her, and is on a quest to find out why, suspecting another woman. She sees the family physician, Dr. Swope... See full summary »
Small time con artist Lefty Merrill has co-organized a crooked dance marathon and set-up his girlfriend to win the prize money. When his partner disappears with money before the contest is ... See full summary »
Ellen McNulty loses her hamburger joint and goes to see her son, who marries a socialite at the same time. Due to her modest background and a case of mistaken identity, Ellen poses as the newlyweds' cook.
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
This, the second cinematic version of THE BEST PEOPLE, a play by Avery Hopwood and David Gray that was first staged in 1924 and filmed in 1925, is a period piece that glides over the best efforts of time, its serio-comic point of view intact, a smartly paced affair presenting a strong opportunity for role development beneath its frothy Roaring Twenties backdrop. Paramount casts new contractee Miriam Hopkins for her film debut as wealthy Marian Lenox, along with Charles Starrett as her chauffeur and beau, Carole Lombard ( the "e" was added by a title scribbler for this film), Frank Morgan and whimsical Ilka Chase, all in top form, whilst Preston Sturges reconditions an already witty storyline. The setting is Long Island, where the Lenox clan resides, and where agitation reigns due to prospects of the family's adult son and daughter marrying below their station (to a chauffeur and a chorus girl), culminating with the entire family unintentionally meeting at a roadhouse speakeasy, whereupon a police raid adds to the growing embarrassment and consternation for two generations of Lenox family members. The film is smartly directed, and acted with verve by all cast members, Hopkins a lively delight and reliable Morgan as solid as ever, although it is Broadway standout Chase who steals acting honours with her uninhibited performance, each benefiting from the pungent dialogue of Sturges that maintains an airy tone for a sophisticated romp, this version topping its silent screen predecessor in all elements except for Warner Baxter's memorable playing of the prideful and lovelorn chauffeur.
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