Snowed Under

Playwright George Brent is having trouble with his new play. He's got two good acts written but the third act refuses to come. He retires to a quiet house in the country to really concentrate…but his peace and quiet are quickly and completely overrun by wives, lawyers, sheriff's deputies and a big snowstorm.

A lively cast makes this one fun—everyone on the screen is hilarious in one way or another. Genevieve Tobin is charming and clever as Brent's first ex-wife, recruited by Brent's producers as the one person capable of helping break his writer's block. Tobin and Brent are the closest to sane of any characters in this movie.

Glenda Farrell is at her rowdiest as Brent's second ex-wife, showing up with milkman/deputy sheriff Frank McHugh in tow, hoping to collect some alimony. Glenda's initial entrance is just a riot: McHugh has preceded her into the house by a couple of minutes when she bursts in shouting, "Fine way to treat a lady! You gonna let me sit out there in the car all night?" McHugh doesn't miss a beat: "Have you been nipping at my applejack?" Farrell: "All right, so sue me!"

Patricia Ellis is also following Brent around, apparently imagining that she can capture his affections by showing up unexpectedly in his bedroom. Among all of these distractions, it's no wonder Brent isn't getting any work done.

It's not exactly sophisticated but sure has some laughs—lots of fun for fans of silly 30s comedies.

A nice cast, consisting of George Brent, Gladys George, Frank McHugh, Genevieve Tobin, and John Eldredge star in "Snowed Under," a 1936 Warner Brothers film.

Alan Tanner (Brent) has new play opening in a week, but the play has no acceptable third act.

In order to get it done, Tanner goes to a cottage, which at the moment is snowed under to work in peace. Not happening. His blonde neighbor (Patricia Ellis) is crazy about him and shows up.

The play's producer, Arthur Layton (Porter Hall), dispatches Alan's first wife Alice (Tobin) to keep him on task. Unfortunately Alan's second wife, Daisy (Farrell), shows up and demands her alimony.

Soon the women are screaming at one another and fighting over who can help Alan more. And the neighbor wants to know where she stands. Meanwhile Alan can't get any work done.

This is a madcap comedy, and for some reason I found it incredibly loud and a little too crazy, a fun premise, but forced. Despite going over the top, it has a sophistication to it.

Frank McHugh is a scream as a deputy sent to arrest Alan, who just may find some peace if he can only get to jail. With a little more attention, this film would have been much better.

Porter Hall wants George Brent to write the third act for his play due to open next week. Brent is at his cabin. Hall sends Genevieve Tobin, Brent's first wife, to crack the whip. Second wife Glenda Farrell shows up with deputy Frank McHugh and her lawyer demanding alimony. Patricia Ellis is already in residence, trying to make herself the third wife.

My first reaction was this was an expertly open-up play, but it was written for the screen. It's certainly cast well; Brent, Warner's choice for a leading man who wouldn't distract the audience from the leading lady, is fine as the hectored yet stolid playwright, and the ladies are nicely differentiated, particularly the speed at which they deliver their lines. Miss Tobin is ladylike, Miss Ellis is twittery, and Miss Farrell continues her reign as Warners' resident motormouth. McHugh sometimes sounds like he's attempting a Down East accent. It's perfectly composed, you know how it's going to turn out, and it's a pleasant series of bumps getting there.

The producer of a play is having trouble with playwright Alan Tanner (George Brent) in that he can't seem to finish the third and final act of a play that is due to go into rehearsals. He taps Alan's first wife, Alice (Genevieve Tobin), to go to Tanner's home in Connecticut to help him finish that play. She shows up, Alan is more than a little glad to see her, and it looks like the play is on its way to getting finished. But then the deputy sheriff (Frank McHugh) shows up with a warrant for Alan's arrest for non-payment of alimony to the second wife, along with said gold-digging second wife (Glenda Farrell) and her lawyer (John Eldridge). Then Alan's current girlfriend (Patricia Ellis) sneaks back into the house, refusing to leave. With the sheriff's car wrecked and a blizzard in progress, all of these people have to spend the night under one roof. Complications ensue.

The way this is set up - playwright whose life has spun out of control due to missing his first wife after having cheated with, married, and divorced a gold digging showgirl but who also has a new girlfriend who is really too young for him but is used to having her way because her family is wealthy - It could have been spun into a Douglas Sirk film if you wanted to take the plot outline and make a melodrama. But like I said, it is obvious from the farcical beginning this is going to be light entertainment all the way and you can pretty much see the end from the beginning. It doesn't outlast its welcome at 62 minutes and is a nice way to pass the time if you are recovering from a nervous breakdown without a serious tense moment in its entire running time.

Modest Warners comedy, a little over an hour and filmed essentially on one set, has playwright George Brent holed up in his Connecticut retreat struggling to come up with a third act, where he's visited by the first wife he still loves (Genevieve Tobin, who's charming and elegant), the second wife who wants her alimony (Glenda Farrell, who's a little too shrill and boisterous), and the kid who wants to be No. 3 (Patricia Ellis). Frank McHugh also shows up to arrest him, and a housekeeper who ought to be Clara Blandick but isn't helps out. It's so one-set that it seems to be derived from a stage farce, but isn't, and implausibilities pile up--if it's such a snowstorm, why are the roads so clear? How does Brent get over to the housekeeper's house? Why is everybody suddenly fainting? Gags, such as McHugh getting covered in snow, get overworked, and Ray Enright, never the most dynamic Warners director, doesn't make much of the slender material. But it's nicely shot, with particularly lovely snowbound exteriors, and the cast looks like it's having fun.