Marie Lohr wakens to the morning mail: her old friends George and Margaret are coming for lunch, and she wants the whole family present. Domestic disturbances ensue in this pleasant comedy.
There's little that's remarkable, but nothing that's disagreeable in this piece of fluff. It's true that I felt a frisson of terror when the name George King popped up as director. Mr. King was one of those who toiled in the Quota Quickies, and whose works were generally most notable for coming in cheap; his best work was with Tod Slaughter, recreating old-timey melodramas like THE DEMON BARBER OF FLEET STREET, mostly amusing for Slaughter's over-the-top performances.
Here, though, everything is fine, even if Miss Lohr occasionally sounds as if she's performing on the stage. I attribute this to the fact that this is one of the Warner Teddington output. Warner Brothers, like other American studios, opened production facilities in Great Britain in the 1930s, to deal with blocked currency and British law which demanded that a large portion of any show in a British theater be of British provenance. Because Warners would also release these pictures in the US, they could afford better production values, and director King shows he can do well with a decent budget.
Few of the Warner Teddingtons survived in prime condition and this one was thought to be gone entirely. It's nice to see it is still around.
There's little that's remarkable, but nothing that's disagreeable in this piece of fluff. It's true that I felt a frisson of terror when the name George King popped up as director. Mr. King was one of those who toiled in the Quota Quickies, and whose works were generally most notable for coming in cheap; his best work was with Tod Slaughter, recreating old-timey melodramas like THE DEMON BARBER OF FLEET STREET, mostly amusing for Slaughter's over-the-top performances.
Here, though, everything is fine, even if Miss Lohr occasionally sounds as if she's performing on the stage. I attribute this to the fact that this is one of the Warner Teddington output. Warner Brothers, like other American studios, opened production facilities in Great Britain in the 1930s, to deal with blocked currency and British law which demanded that a large portion of any show in a British theater be of British provenance. Because Warners would also release these pictures in the US, they could afford better production values, and director King shows he can do well with a decent budget.
Few of the Warner Teddingtons survived in prime condition and this one was thought to be gone entirely. It's nice to see it is still around.
