1 review
Prohibition had been over for more than two years in the U. S. when this movie was made. And, although just about anybody who wanted to could find, buy and drink bootleg booze during that time (1920-1933), to watch this film one would think it had been impossible to drink for years. And now all these super wealthy people were going on a big long drunk.
"Remember Last Night" must be one of the most luxurious, elegant sets for a rich mansion in any film. I don't remember any appearing so elegant, spacious and just plain rich. And, all the characters in this film apparently are super wealthy and don't even need to work. So, they would have been among the real wealthy blue-bloods that survived the stock market crash and continue to live in opulence while much of the country and most of the population either went unemployed or had to tighten their belts.
This movie is based on a 1935 novel, "The hangover murders," by Adam Hobhouse. I have no idea how closely the film follows the book, but what little humor is in the film is overshadowed by the hedonistic lifestyle and loose lives of some married couples. All of this with one murder after another. The mystery in the film can't save it either, because it's smothered in the drinking, dalliances and dashing around by the lead couple to find clues.
The screenplay is poor, has holes and is very choppy. It's hard not to like Robert Young in any film, but his Tony Milburn here is little more than a spoiled rich guy with no responsibility or interest other than drinking and partying. The only two performances worth anything are by Edward Arnold as Danny Harrison, the police detective; and Arthur Treacher as Phelps, the Milburn's butler. He is the source of most of the small amount of humor in the film - and that is mostly in his comments aside or under breath. Edward Brophy plays a reformed crook who's an assistant to Danny Harrison and is worth a couple of smiles.
Most of the Depression era films about the wealthy had some good comedy and romance, and showed people enjoying the good life but not wallowing in it. This film had mixed reviews by critics, was a box office flop with the public, and lost money for the studio.
The closest thing to any funny dialog was a line by Brophy's Maxie. When he arrives at another murder scene, he says to Harrison, "It's like an Easter egg hunt. You find one in every room."
"Remember Last Night" must be one of the most luxurious, elegant sets for a rich mansion in any film. I don't remember any appearing so elegant, spacious and just plain rich. And, all the characters in this film apparently are super wealthy and don't even need to work. So, they would have been among the real wealthy blue-bloods that survived the stock market crash and continue to live in opulence while much of the country and most of the population either went unemployed or had to tighten their belts.
This movie is based on a 1935 novel, "The hangover murders," by Adam Hobhouse. I have no idea how closely the film follows the book, but what little humor is in the film is overshadowed by the hedonistic lifestyle and loose lives of some married couples. All of this with one murder after another. The mystery in the film can't save it either, because it's smothered in the drinking, dalliances and dashing around by the lead couple to find clues.
The screenplay is poor, has holes and is very choppy. It's hard not to like Robert Young in any film, but his Tony Milburn here is little more than a spoiled rich guy with no responsibility or interest other than drinking and partying. The only two performances worth anything are by Edward Arnold as Danny Harrison, the police detective; and Arthur Treacher as Phelps, the Milburn's butler. He is the source of most of the small amount of humor in the film - and that is mostly in his comments aside or under breath. Edward Brophy plays a reformed crook who's an assistant to Danny Harrison and is worth a couple of smiles.
Most of the Depression era films about the wealthy had some good comedy and romance, and showed people enjoying the good life but not wallowing in it. This film had mixed reviews by critics, was a box office flop with the public, and lost money for the studio.
The closest thing to any funny dialog was a line by Brophy's Maxie. When he arrives at another murder scene, he says to Harrison, "It's like an Easter egg hunt. You find one in every room."