A romantic comedy in the good way of the 30s in which everybody seems to be out of place but, somehow, it still works.
Roland Young, an eternal sidekick in screwball comedies of the 1930s, appears here as the protagonist, well supported by another talented actor recurring in this type of film, Charles Ruggles. It is they who lead the film, along with an unlikely Lily Damita, in a role that doesn't suit her particularly well, as she seems more suited for drama than comedy.
Paradoxically, the king of screwball comedies, Cary Grant, appears in a secondary role at the beginning of his career, which does not allow him to show his enormous potential for the genre, alongside with Thelma Todd, despite everything, much more comfortable in comedy, than the protagonist.
Good production, a glamorous Venice, despite being filmed at Paramount studios, an acceptable argument for the genre. Had this film been given proper casting and a more inspired direction, it could have been a classic.
Sadly, it's just a nice romantic period farce for fans of the genre.
Roland Young, an eternal sidekick in screwball comedies of the 1930s, appears here as the protagonist, well supported by another talented actor recurring in this type of film, Charles Ruggles. It is they who lead the film, along with an unlikely Lily Damita, in a role that doesn't suit her particularly well, as she seems more suited for drama than comedy.
Paradoxically, the king of screwball comedies, Cary Grant, appears in a secondary role at the beginning of his career, which does not allow him to show his enormous potential for the genre, alongside with Thelma Todd, despite everything, much more comfortable in comedy, than the protagonist.
Good production, a glamorous Venice, despite being filmed at Paramount studios, an acceptable argument for the genre. Had this film been given proper casting and a more inspired direction, it could have been a classic.
Sadly, it's just a nice romantic period farce for fans of the genre.