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Deanna Durbin stars in "It's a Date," a 1940 comedy also starring Kay Francis, Walter Pidgeon and S.Z. Sakall. Durbin plays Pam Drake, an aspiring young actress whose mother is a theater star, Georgia Drake. After the successful run of a play, Georgia and her maid Sara Frankenstein (Cecilia Loftus) head for Hawaii for R&R before she starts her new play. However, the author (Sakall) isn't sure she's right for the role; he thinks Georgia is too old. Ultimately he sees Pam perform and gives her the role. Not realizing her mother thinks it's hers, she takes a ship to Hawaii so her mother can help her prepare. On the ship, she meets a man (Walter Pidgeon) that she thinks is a stowaway - he's actually John Arlen, a successful businessman. Once in Hawaii, Pam finds out the truth about the role and tries to keep it from her mother; John, meanwhile, has fallen in love with Georgia, but Pam thinks she's in love with him and it's mutual. It's a mess.

In Durbin's earlier films, I found her speaking voice high-pitched and a little annoying and her acting overly energetic to the point of being hyper. Here, she's delightful, bubbly without being manic, and she looks very pretty. Her singing voice has matured as well - she sings "Musetta's Waltz," "Ave Maria" and "Loch Lomond." The whole voice is richer though I will never be a fan of the way sopranos in those days were trained to back off of their high notes. She puts a little too much weight in the middle voice and therefore has a somewhat screechy Bb at the end of "Quando M'en Vo." Still, however, she is one of the best classical singers in film.

Though Durbin was a huge star at Universal, the studio never bought big properties for her. This is a nice film with good performances but that's about it. Kay Francis is lovely as Georgia and Loftus is funny as Sarah. The handsome Pidgeon does his usual good job.

Deanna Durbin in the end out-Garboed Greta Garbo, retiring at the age of 27 and moving to the outskirts of France, and I don't believe she's been seen since or even interviewed. The image and voice of the young girl live, and thanks to TCM, she undoubtedly has new fans. She deserves them.

If you discover this film, as I did on rerun on a television station, you will first notice that it is a comedy with musical numbers. It is not a drama; it is not a lost opportunity for heavy-duty angst between a mother and daughter nor a passionate romantic triangle. I claim it is just what its producers set out to make it to be--an opportunity for young singing star Deanna Durbin to show her abilities, a nice part for Kay Francis who is young enough to play leads and mature enough to suggest that she may have to consider giving up impersonating ingenues on stage, and a chance for Walter Pidegon to play the fascinating man who falls in love with her. Francis underplays and is intelligent, I claim, and capable in the part of a Broadway luminary, a sort of part which has overtaxed many a Hollywood actress because it requires high intelligence, a trained voice AND a trained accent. Durbin is energetic, bubbly and believable as an inexperienced human being and as a potential major talent. Pigeon is award-caliber as the wise, understanding and romantic plantation owner who she has a crush on; he is the one who switches his attention to Francis at first sight and then has to deal with the misunderstanding. This is a breezy, genial comedy about three ethical and nice people who are caught in a misprision that can easily be solved in five minutes, but fortunately takes long enough to serve as the framework for an entertaining movie for adults, albeit of an ideationally low-grade level. That's all it is--a clever excuse for the songs, the three stellar performers and a logical script devoid of very much social importance. Norman Krasna, a gentle-minded and very talented screenwriter, has provided a superior script here, which is believable, full of smart dialogue and never forced as so many comedies were and are; Frederick Kohner of "Gidget" fame, Ralph Block and Jane Hall also contributed to the logical story-line. Gowns were designed here by Vera West; sets were decorated by Russell A Gausman. Art direction was provided by veteran Joseph Otterson, with fine cinematography by Joseph A. Valentine. William A Seiter directed the production. Make no mistake; this is a "B" film in its attempt-level, but with unusual musical and visual values throughout. Judge this film for yourself; I believe you will be as amused; and perhaps as delighted as I was to find a film written by adults and for adults, about sensitive topics such as an actress's pride, a mature male's admiration for a beautiful woman and a young girl's emotional vulnerability.

A mother and daughter vie for the affections of the same man and for a plum Broadway role. This could be the plot of a tragic drama or a steamy soap opera, but these women have a prodigious love for each other and this is a comedy, so the storyline revolves around the expected resolution of the amorous and artistic collisions.

Kay Francis plays the mother (Georgia) and Deanna Durbin plays the daughter (Pamela), which makes this film eminently watchable. Walter Pidgeon is the man in the middle. At the time of filming, Francis was about 35 and Durbin was about 19, but Deanna had top billing and the meatier role. If Durbin's role had more substance, the film would have been more balanced and more interesting. As it is, the two actresses convey a warmth that compensates for a paucity of laughs.

"Cuddles" Sakall makes his Hollywood debut as the playwright for the show the women covet.

The narrative allows Durbin to display her marvelous pipes, of course. Her vocal numbers are shoehorned into the action, but they don't distract. In fact, they are one of the film's best features.

The tired old ploy of having mother and daughter compete for the same man, intentionally or not, is what is supposed to make 'It's A Date' a sparkling comedy. Although the script is by the talented Norman Krasna, it's not witty enough to make the long stretches between songs anything more than bearable.

When Durbin does get a chance to sing, she's great. She puts over all of her songs with professional skill and poise, doing an absolute standout job on "Ave Maria" and "Musetta's Waltz"--but the trouble is not enough time is spent on the vocals to showcase her amazing voice. Instead, we get Kay Francis and Walter Pidgeon falling in love while Deanna dreams up all sorts of schemes to keep her mother from knowing that she has won her mother's role in a play.

Deanna looks lovely at eighteen and has probably never been photographed more beautifully but this is the sort of vehicle that has you wishing the silly plot would move on so we can hear Durbin sing once more. Walter Pidgeon and Kay Francis are adequate in support. MGM later came up with a zestier technicolored remake called "Nancy Goes To Rio" with Jane Powell.

Trivia note: This was S.Z. Sakall's first screen appearance in an American film.

This is a fine Deanna Durbin vehicle, but an uneven film. There are plenty of chances for Deanna to sing and be bubbly, enough to satisfy most fans, but the stars have to work overtime to keep what little drama exists moving until the inevitable resolution.

Deanna is fledgling actress Pamela Drake, daughter of major Broadway star Georgia (Kay Francis). She works in a small regional theater but unexpectedly gets the chance to star on Broadway herself. Seeking seclusion in order to prepare for her big break, she heads home to Hawaii to spend some time with her mother. On the ship, she meets pineapple tycoon John Arlen (Walter Pidgeon), who first woos her but then also becomes interested in mama. It turns out that Georgia also expects to get the part already offered to Pamela and also wants John. Who gets the part? More importantly for these types of films, who gets the man?

Durbin is amazing, as always, and really gets the chance to show what a child prodigy she was (though clearly becoming a young woman here). She sings several standards such as "Loch Lomond" and "Ave Maria" with her fine soprano voice, and shows maturity far, far beyond her years. If you aren't familiar with Durbin, be prepared to be dazzled by her talent. There's one fine bit where Deanna, trying to convince the big-time producers (including S.Z. Sakall doing his usual hammy bit) to hire her for their show, does several wildly different characterizations in rapid-fire succession which are all excellent. Great acting talent, great singing voice, prettier in a classic sense than Judy Garland, Deanna was the complete package.

Pidgeon is great also, but he is up against formidable competition in the acting department here. He exudes his usual avuncular charm, and actually has some dashing moments on the ship to Hawaii as he tries to woo Pamela. Later, though, he appears bewildered at times, despite supposedly being the one in charge. Kay Francis is the clear loser. She is completely outclassed by Durbin, and is clad in weird fashions such as turbans that make her look dowdy and out of place, especially in a Hawaiian setting. It is difficult to believe that Arlen would choose her over Pamela. Plus, she is given almost no chance to do anything but sit and wait for John and Pamela to decide things for her, so her character and motivations are murky.

Durbin gets to sing several times with her beautiful operatic voice, and she gets to emote repeatedly both as her own character and as the character she is playing within the story. Plus, she has several supremely Diva moments ("I am through with men!"), culminating in the glorious opportunity to stalk off in a huff, the battle won but the war lost. The reality, though, is that she is still just a kid playing in a grown-up world, a fight the real Deanna would be waging until she finally gave it all up and left films altogether later in that decade, hopefully for a happier life without the strain of constantly meeting her own and others' extraordinary expectations for herself.

Ignore the story, but don't ignore Deanna, a true star.

"It's a Date" is a pleasant little film with Deanna Durbin. I think the best part of this one is that although there is some singing, it's not jam-packed full of music and has a decent plot.

Deanna plays Pamela Drake and Kay Francis plays her mother, Georgia. Georgia is already a famous and accomplished actress and Pamela dreams of becoming one herself. Well, it soon looks like Pamela's dreams will come true when she reads for a relatively small part--but they offer her the lead! However, she needs to cram and learn the part and goes on a cruise. During this trip, she stays to herself and works on her lines but the Captain and a guest, John Arlen (Walter Pidgen) see her talking to herself and don't know she's rehearsing! They think, incorrectly, that she's really depressed--and John decides to use a scheme to get her to focus on him and his supposed problems. He hasn't got any problems and soon she sees through his ruse--but they become good friends.

When they land, Pamela introduces John to her mother--and tells her that she is in love with John, although he's twice her age. However, over time you aren't certain WHICH lady John is smitten with but things get worse. Soon Pamela realizes that her mother ALSO thinks she's getting the same part that Pamela is rehearsing for--and she doesn't want to disappoint her mother. So what's going to happen? See this cute little family comedy.

As far as Deanna Durbin films go, it's a bit better than average due to a nice cast. In particular, although it's a relatively small role, it's also the first for S. Z. 'Cuddles' Sakall---one of the most likable supporting actors in history. This alone make it a must-see!

By the way, I would love to know what audiences of the day thought about their sweetheart, Miss Durbin, falling for an old guy like Pidgeon. I know that a similar May-December pairing in "That Hagen Girl" was NOT good and audiences hated the film. I think seeing a young lady who everyone adored as a child now with a much older man was just too much-- and this might have also been a problem with Durbin.

Joe Pasternak gets to do everything he loves: showcase Deanna Durbin, offer a past-her-prime star (Kay Francis) another chance, exploit a mostly public-domain musical repertoire, and peddle light comedy. Deanna is, of course, a delight, underplaying the comedy as the stagestruck daughter of a Broadway star, and Walter Pidgeon is a more than capable object of both ladies' affections (but it's a little creepy, his tentatively pursuing romances with both). The screenplay, by Norman Krasna, has some uncomfortable moments, and we also have to endure the forced charms of Cuddles Sakall, here a formidable playwright (it strains credibility). It's directed by William A. Seiter but plays like a Henry Koster special, and you do see why Deanna tired of being a perpetual singing adorable ingenue. She alone brings it under the wire.

IT'S A DATE (Universal, 1940), a Joe Pasternak production, directed by William A. Seiter, and starring Deanna Durbin, the studio's top box-office attraction, ranks another popular roaster to the Durbin movie lineup. Like many of her feature films (1936-1948), they were extremely popular, yet most have become forgotten through the passage of time. Not quite a movie about a dating service agency, IT's A DATE is one that tends to look like a best selling novel-type story told in chapter form with different backdrops. As with her earlier success of MAD ABOUT MUSIC (1938), Durbin once again plays the daughter of an actress, this time a theatrical one with whom she's inherited both talent for acting and singing ability, with her main ambition to carry on the family trait.

The plot summary revolves around Georgia Drake (Kay Francis), a successful Broadway actress just completing her 400th and final stage performance of "Gypsy Lullaby." In attendance are its producer, Sidney Simpson (Samuel S. Hinds) and his friend, Carl Ober (S.Z. Sakall), a playwright visiting from Vienna. In a separate balcony are Georgia's daughter, Pamela (Deanna Durbin), and her escort boyfriend, Freddie Miller (Lewis Howard). Ober is seeking for an particular leading lady for his upcoming production of "Saint Anne," and feels Georgia too old for the part. After meeting with Pamela, however, he finds she'll make the perfect Saint Anne. Awarded the title role, Pamela accepts, unaware that this is the role her mother is eager to play. With Georgia already vacationing in Honolulu, Pamela, knowing her mother to be her best acting coach, arranges to meet with her in Hawaii. While on board the ship, S.S. Honolulu, Pamela lives her part to the fullest by reading her script, thus, causing John Arlen (Walter Pidgeon), a businessman and fellow passenger, to mistake her for an extremely unhappy young girl. To keep her mind off her troubles, John pretends to be a stowaway hiding in a lifeboat and allowing her to assist him with food and water during the voyage. After the misunderstandings are resolved, situations occur as Pamela learns the truth about the Saint Anne play. To spare her mother's feelings, Pamela uses Mr. Arlen as the source to keep her mind off the play, followed by some unforeseen circumstances.

Other appearing in the cast include: Eugene Palette (Governor Allen); Henry Stephenson (Captain Andrews); Cecilia Loftus (Sara Frankenstein, Georgia's personal maid and no relation to the Mary Shelley novel character); along with the familiar faces of Charles Lane, John Arledge, Eddie Acuff, Fritz Feld and Virginia Brissac, among others. Because the Drake women are depicted as part of a generation of actresses, maybe Cecilia Loftus should have played the actress grandmother discussed in conversation rather than the personal maid to make this family generation of actresses more bonding and acceptable to the plot.

The musical program includes: "Gypsy Lullaby" (voice dubbed "sung" by Kay Francis); "Love is All"(sung by Deanna Durbin); Traditional Scottish song of "Loch Lamond," "It Happened in Kaola" (by Ralph Freed and Frank Skinner); "Hawaiian War Chant," "Rhythm of the Islands," "Musetta's Street Song" from the opera, LA BOHEME by Giacomo Puccini; and "Ave Maria" by Franz Schubert. Durbin's rendition to "Ave Maria" is beautiful, but her earlier effort, "Love is All" is one of nicest songs ever sung by her. Producer Joe Pasternak must have loved "Ave Maria" enough to use it again for Jane Powell's HOLIDAY IN Mexico (MGM, 1946), which also featured Walter Pidgeon, as well as the story for a remake, NANCY GOES TO RIO (MGM, 1950) with Jane Powell and Ann Sothern in the Durbin and Francis roles. Because of the Pasternak style and Pidgeon in the cast, IT'S A DATE could easily be mistaken for an MGM film rather than one by Universal.

Still a teenager of about 18 or 19, Durbin has developed into an attractive young lady. For the movie in general, 103 minutes is quite a drawn-out process in storytelling, thus, standing apart from Durbin's 87 to 95 minute feature film presentations. Yet, what makes it so watchable, other than Durbin's song interludes, are the veteran players as former Warner Brothers star, Kay Francis; the debonair Walter Pidgeon on loan-out assignment from MGM; and soon-to-be character actor for Warner Brothers, S.Z. Sakall. With this being Francis' only assignment opposite Durbin, she would later appear opposite Gloria Warren, a Deanna Durbin look-a-like songstress, in a Durbin-type musical drama, ALWAYS IN MY HEART (Warner Brothers, 1942). While Durbin's film career extended until her retirement by 1948, Miss Warren, following a few more screen roles for other movie studios, disappeared to obscurity by the end of the decade.

Due to the aforementioned MGM remake, the 1940 original was reportedly unavailable for viewing for many years until the wake of cable television where it turned up on cable networks as Showtime (1985), a decade later on Turner Classic Movies, and availability on video cassette in the 1990s. To the film's credit, IT'S A DATE offers more than its share with amusements, songs, and story in the finest Durbin-style tradition. (***1/2)

This is definitely one of the weaker of Deanna Durbin's films, in my view her weakest apart from 'Can't Help Singing' (Frank Ryan 1944). That is emphatically not because of her. She herself is great: Her acting is superb, she looks lovely and sings beautifully. Also, she has a competent supporting cast. But the plot, which I believe was supposed to be a comedy, lacks tempo, wit and sparkle. I have rarely seen something more contrived than the life boat and stowaway-scene. What Norman Krasna.and his co-writers found funny about that escaped me. The whole thing plods along until it reaches an entirely foreseable conclusion. A pity!

A representative cactus from the desert of Ms. Francis' post "Paradise" career this thing shows Norman Krasna at his most unfunny and Deanna Durbin at her most annoying (don't know what's worse, her talking or her singing). It also violates the cardinal and very sensible rule that if you set a movie in Hawaii you really oughta shoot it there.

The first part almost sparkles as Durbin sings and mixes with other youngsters. Then Pidgeon enters the picture and the movie bogs down in a romantic mix-up as implausibly an 18-year old Durbin and an adult Francis compete for the 42-year old male lead. Trouble is the movie stretches out the slender material, while director Seiter's pacing lacks needed snap. Nonetheless, Durbin's star quality comes through. Her more mature dramatic scenes are convincing for one so young. Still, I could have taken more of her usual bounce, while that last song (Ave Maria)-- of only three -- appears to have wandered in from another movie. I guess it's to reassure the audience of Durbin's basic innocence. All in all, the film fritters away its three outstanding performers with a lackluster script and pedestrian direction. Fortunately, they would all go on to better things.

Georgia Drake (Kay Francis) is a star on stage and her worshipping daughter Pamela Drake (Deanna Durbin) only wants to follow in her footsteps. She expects to star in a new play, but is getting a little too old for the young lead role. Unbeknownst to her and her daughter, Pamela gets picked to play the role and replace her mother. They also get involved with pineapple king John Arlen (Walter Pidgeon).

The initial premise is an interesting idea, but it needs work. Somebody would have told Georgia or Pamela or both. Mother and daughter should not have the same last name, and their family relationship would be a secret. In fact, it would be a good reveal for the audience later on. The other misunderstanding gets creepy, but it resolves itself in time. In the meanwhile, it's an idea for a porn. So it's not good for a family film and it's not fun.

"It's a Date" is a wonderful, very funny comedy romance film with a delightful cast. This is the type of story that one can imagine the cast having a ball over making. It has two angles or twists that haven't been used very often in comedies, and seldom together. The first is a mother and daughter thinking they have the same part or role in an upcoming play or film. The second is passengers on a ship mistakenly thinking a girl has been hurt or suffered a loss or catastrophe. There is a third element, of course, and that's a romance, and it's also similar to a plot ploy used very rarely, where the girl thinks the older guy is in love with her and/or others think that she has a crush on him.

Well, that should whet the appetite of prospective viewers of this film. The girl in all of this is Pamela Drake, played superbly by Deanna Durbin. She also was a singer of operatic type of music, and this film is billed as a musical. But this is nothing like a musical in either of the usual formats -- revue or play. Rather, this is a comedy romance, with a story built around the theater, in which Durbin sings three songs.

Kay Francis plays the other female lead as Pam's mother, Georgia Drake. She is a famous actress and singer in the story, but the opening scene is the only one in which she is acting in a musical, and her singing is dubbed. Walter Pidgeon plays the male lead, John Arlen. While a fan of Drake's, he's a big pineapple grower in Hawaii who, in middle age, hasn't yet found the right woman. Of course, the audience knows how this will turn out. But that doesn't diminish the film in the least - it's even necessary to set the plot for the last three-fourths of the film. That's where the comedy gets quite hilarious.

Aiding and abetting in this enjoyable frolic is a wonderful supporting cast of well-known and beloved performers of the mid-20th century. Henry Stephenson is the ship's head, Captain Andrew; Eugene Pallette plays Governor Allen of Hawaii; Samuel Hinds is the Drakes' producer and close friend; and Fritz Feld is hilarious as the frustrated Headwaiter. And, this is the American and English debut of the wonderful Hungarian actor, S. Z. Sakall. Already with more than 50 films behind him in Europe, Sakall would become a well-loved key supporting actor in Hollywood for the next decade and a half. He added spice to many comedies. In this film he is a playwright, Karl Ober, who has brought his new play to the U. S. to debut on the Broadway stage.

The actor who plays Pam's young friend, Freddie Miller, looks very promising in this, his second film. But his acting career never took off and he committed suicide in 1951, at age 32. This is also one of the few films that the older Cecilia Loftus was in. But she is a treat to see as the woman companion and friend of the Drake women, Sara Frankenstein. While that's apparently not her real name, Pam calls her that when she introduces her, and that's how she appears in the cast list.

Another little treat in this film is its scenes with music by Harry Owens and his Royal Hawaiians orchestra that played for years at the Royal Hawaiian Hotel in Honolulu. I enjoyed the Royal Hawaiians myself while dining there one night in the early 1970s. This is a superb film that's loaded with hilarious dialog. Here are some favorite lines. The Quotes section on this movie page has many more very funny lines.

Karl Ober, "I can't work in New York anyway. Is this place far from here?" Pamela Drake, "Oh, no, Mr. Ober. It's only Maine. You know where Maine is?" Ober, "No." Pamela, "Oh, it's practically a few minutes from here."

Pamela, "Personally, I see the part played by a young, beautiful girl." Sidney Simpson, "Can you suggest somebody?"

Pamela, rehearsing lines that others hear while she's sitting on a ship's deck chair, "A woman's love is like a cocoon."

Captain Andrew, who loses frequently to John in chess, "But I've been reading up on this. Just you watch yourself." John Arlen, "So, you've learned to read, have you?"

John Arlen, "She's got quite an imagination. She not only imagined a proposal out of me, but she turned me down."

Sara Frankenstein, "What's it about?" Pam Drake, "Well, I play everything. I'm happy and I'm sad. My heart's broken. I wanna kill myself. I go crazy. I recover. I go crazy again. Oh, Sara, it's the real me." Sara, Yeah, I , I see a certain similarity."

Captain of Waiters, "What did he say when you said his friend shot himself?" Headwaiter, "Too bad."

Georgia Drake, "Your friends - one sends a message that he's broken his leg. The last fellow says he shot himself." John Arlen, "Now, Georgia, I explained that."

Georgia Drake, "Don't tell me - let me guess. Your house is on fire. That means that you sent a message to yourself, to eat breakfast tomorrow." John Arlen, "No, it's really on fire. I did it myself to collect the insurance."

Georgia Drake, "What's the background of the play?" Pamela, "Uh, the Swiss Alps. Very colorful, you know - mountain people." Georgia, "You mean this naval officer lives in the Swiss Alps?" Sara Frankenstein, "They haven't even got a navy in Switzerland."

Pamela Drake, "Oh, I'm old for my age. If you're raised in the theater, you age quicker, is the way I look at it." Sara Frankenstein, "You're practically an old hag, Pam."

John Arlen, "Oh have a heart, lady. How'd I know you were gonna turn out like this?" Georgia Drake, "You expected an old, fat dimwit, didn't you?"

I watched this to see Kay Francis, who was coming to the end of her career here. Both she and Walter Pigeon were billed below the title; Deanna Durbin was the star, the only person billed above the title.

This was the seventh movie Deanna Durbin made with producer Joe Pasternak and cameraman Joseph Valentine, and the well was running dry. This drivel would give anyone with an IQ above 70 a raging headache--even in 1940. It's a trite tale of a mother (Francis) and daughter (Durbin) in love with the same man (Pigeon) as well as mother and daughter vying for the same leading role in a Broadway play. It's nonsense with neither an ounce of plausibility nor a single bit of wit, though it fancies itself a comedy. The very contrived plot is arranged to provide Durbin with a ridiculous assortment of songs: "Musetta's Waltz" from La Boheme, Schubert's "Ave Maria," "Loch Lomond," and a bland new ballad, "Love Is All." Kay Francis was looking quite fine here, though the costume designer should have been shot for giving her unflattering turban hats.

This was the first American film that S. Z. "Cuddles" Sakall appeared in, though he didn't have his nickname at that time. He was playing the sort of part here that he played throughout his Hollywood career.

And the film reminded me of what an insipid actor Walter Pigeon was.

Six films and four years after her auspicious starring debut in THREE SMART GIRLS (1936), the luster of Deanna Durbin began to dim, but just a little. In IT'S A DATE (1940), she's saddled with two high-profile grown-up co-stars, Walter Pidgeon and faded 1930s star Kay Francis, both of whom considerably slow down the normally hyperactive Deanna.

The plot involves aspiring actress Deanna being offered a part that was originally promised to her stage diva mom (Kay). Then, in Hawaii, the plot shifts to a romantic triangle as the two women grapple, not for a part, but for the attentions of a pineapple tycoon, Pidgeon, who's more interested in the mother. The inherent drama in such a situation is jettisoned in favor of standard Universal Pictures sitcom antics. Kay Francis overacts but is never given any good lines, forced too often to simply react to the bubbly, aggressive Deanna.

The first section of the film offers the flavorful ambiance of a theatrical milieu, both Broadway and regional theatre, but then, after Deanna's offered the part of St. Anne, the action shifts to a cruise ship, where Deanna meets Pidgeon, and finally to Hawaii where she reunites with Mom. Once Deanna boards the ship, she leaves behind her quirky boyfriend Freddy, an aspiring actor played by the funny Lewis Howard, who then disappears from the movie. Freddy has a great bit early on where he tries to impress a casting director by acting like a 'dope fiend' which is what he thought Deanna said when she told him to try out for the part of the Dauphin. He starts going into withdrawal tics, rubbing his nose and scratching his arms, a daring bit at a time when the Production Code strictly forbade drug references.

Norman Krasna's script (from a 'story' credited to three writers) offers plenty of bright dialogue and funny bits, but the shifts in setting make it play like three movies crammed into one. William Seiter's heavy-handed direction seems more intent on showing off the lavish (for Universal) sets and less on showing off the actors, giving a bloated feel to the whole enterprise. Deanna's earlier films were leaner, zippier and bursting at the seams with youthful energy. The soundtrack is short on original songs and big on choral standards: Deanna's big numbers are 'Loch Lomond' and 'Ave Maria.'