The story of a dress and the effects it has on the women who wear it begs the question of where is O.Henry when he is needed. "Nude at Midnight", a new and daring Paris style creation is ...
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The story of a dress and the effects it has on the women who wear it begs the question of where is O.Henry when he is needed. "Nude at Midnight", a new and daring Paris style creation is worn by Gogo Mantaine to try and ensnare the Rajah of Kim-Kepore but he is attracted to Lisa, the girl who modeled the dress. Marion Parmelee dons the gown to charm her husband's retiring (as in quitting) boss, Patrick James Sullivan, into letting her husband, Jack Parmelee take over the business, but the boss' wife Nora, who really runs the business, has other ideas. The same model dress is worn by Betty Barnes, in an effort to attract her boss, lawyer Edgar Blevins, who is married to a dowdy wife, Cora, but the wife turns up wearing the same dress. Marta Jensen uses the dress to inveigle her reluctant sweetheart, Charlie Johnson into a marriage proposal. Since she also attracts the Rajah, her options expand.Written by
Les Adams <email@example.com>
This is a series of stories of four women who own, in succession, a Parisian evening gown. As such, it might be considered a female version of Duvivier's TALES OF MANHATTAN. The difference seems to be that in the other movie, the clothes in question -- a set of men's evening clothes -- is largely a linking device; and to a man, one set of evening clothes is pretty much like another: if they fit and they're not disreputable-looking (as they gradually become in the course of the movie), they are, basically, interchangeable. Not so for a woman's evening gown!
Because of that structural issue and because this is a woman's picture it is somewhat less interesting to me. Nonetheless, the talent here is always competent, the lines are frequently interesting -- Tom Conway, as a Maharajah, is offered a succession of haute cuisine dishes but prefers simple fare -- and the result is highly watchable.
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