Grace Perkins, the author of this story also wrote MY PAST and NIGHT NURSE which were both big impact, big juicy dramas for Warner Bothers around this time as well. This picture has that same strong narrative, a well-crafted sense of direction and an empathy with the charismatic leads. The characters feel like real people, they work well together and develop together. When however you stand back and look at the family to which Carole Lombard's character belongs you have to admit that such a family could only ever exist in fiction, they are a little ridiculous but because they're acted so well with such authenticity, you've abandoned your sense of reality ages ago. One of the reasons it all seems so believable is because for the first half of the film it's a kind of light comedy and the way your mind accepts such something like that is less critical than if it were a tough drama. By the time the film switches from comedy to tragedy (or rather something a bit more dramatic) your mind is fully engaged; a common but still clever little trick.

In essence, it's about a rebellious young heiress (yes, another one!) who rather unsurprisingly falls for the wrong guy (yes, it is that predictable). That's how the film hooks you in, using a familiar story peppered with good witty writing and convincing performances. About half way through it starts to get down to business but still retains that lightness and humour - mainly down to the Granma (played by Louise Closer Hale) who is brilliant...... and so is Walter Connolly (was it in his contract that every father in every Columbia picture of the early 30s had to be played by him?) and so is Carole Lombard (genuinely funny and lovely without doing all that annoying screeching she did in her later films). They're all so good - they're 'proper actors!' And I know I left Lyle Talbot out of that list..... he's not a bad actor he's just incredibly dull. Why would someone as bubbly and vivacious as Carole Lombard's Annie fall for the dullest man in America?

In summary, this is a really worthwhile way to spend an hour and a half if you enjoy a better than average early thirties drama with a splash of comedy thrown in. It's made by Columbia which was not known for its extravagant production budgets but this one feels as classy as anything MGM might have made. It's not got a deep message, it isn't one of those a Warner Brothers/Zanuck movies that will make you angry and want to change the world but it's engaging and good fun.

Spoiled rich girl (Carole Lombard) falls in love with poor boy (Lyle Talbot). But her father's financial troubles may force her to marry a wealthy prince. Pre-Code soaper features a scene of Carole Lombard in her underwear, which is as good a selling point as any. Carole's good in this and, of course, beautiful. Talbot does okay. Nice supporting cast. Louise Closser Hale is great as Carole's grandmother, Walter Connolly her extremely likable father, and C. Aubrey Smith fine in a villainous role. Enjoyable enough. It's not a bad movie of its type. Helps if you're a big fan of Lombard. The ending seems silly on paper but was surprisingly effective.

A wonderful cast of supporting character actors enlivens a soap opera about how Carole Lombard falls in love with reverse-snob Lyle Talbot and thwarts the plans of her grandfather -- played by the wonderful C. Aubrey Smith -- to marry his family into European royalty. In the meantime her father -- played by Walter Connolly -- is about to see his bank fail.

It seems apparent that the novel on which this book is based is a lot more complex than this movie. The dialogue is competent, but not great, and people tend to play types rather than individuals. But while this is not a great movie, the wonderful players make it far more enjoyable than anyone would expect it to be. Even Lyle Talbot, usually confined to a simple juvenile lead at his home base of Warner Brothers in this period, is excellent, if a tad declamatory.