Sailor Dennis O'Keefe has a two-day shore leave and the wedding is all planned out by bride Martha Scott and her family. Unfortunately, O'Keefe's ship comes in late and that delay is followed by the discovery that Scott's mother has been swindled out of her fortune....Can they manage to get hitched before O'Keefe is called back to his ship?
O'Keefe and Scott are attractive and funny, and Adolph Menjou is outstanding as O'Keefe's father, a con man who means well but never quite hits it big. Menjou vows to help restore the lost fortune and sets about using his connections at the casino.
A wonderful and unique supporting cast includes Billie Burke as Scott's mother, cheerfully goofy as always; June Havoc as a spirited song-and-dance girl who helps Menjou out; and Pola Negri as a temperamental opera singer who loves Wagner ("She half wildcat!" a casino employee exclaims—a clever nod to Negri's wacky 1921 picture The Wildcat.)
The plot itself is just okay but much enhanced by memorable little bits that surprise and delight. One such moment features Burke and friends sitting around a nightclub table practicing doing double takes; another is the musical number in which Havoc duets with a movie of herself. Then there's the slinky babe who keeps popping up in different scenes for no apparent reason—until Burke finally fills us in: "She's a very particular friend of the director who's making this picture. He sticks her in every scene he can."
It doesn't aim too high but it sure is lots of fun.
O'Keefe and Scott are attractive and funny, and Adolph Menjou is outstanding as O'Keefe's father, a con man who means well but never quite hits it big. Menjou vows to help restore the lost fortune and sets about using his connections at the casino.
A wonderful and unique supporting cast includes Billie Burke as Scott's mother, cheerfully goofy as always; June Havoc as a spirited song-and-dance girl who helps Menjou out; and Pola Negri as a temperamental opera singer who loves Wagner ("She half wildcat!" a casino employee exclaims—a clever nod to Negri's wacky 1921 picture The Wildcat.)
The plot itself is just okay but much enhanced by memorable little bits that surprise and delight. One such moment features Burke and friends sitting around a nightclub table practicing doing double takes; another is the musical number in which Havoc duets with a movie of herself. Then there's the slinky babe who keeps popping up in different scenes for no apparent reason—until Burke finally fills us in: "She's a very particular friend of the director who's making this picture. He sticks her in every scene he can."
It doesn't aim too high but it sure is lots of fun.