I'm still not sure what this 68-minutes was supposed to add up to. Perhaps some find the proceedings droll; to me, they're plain dull. And were it not for an inoffensive Roland Young and a winning Lillian Gish, I would have turned it off. The plot's about a celebrated reclusive painter who's believed dead even though much alive. So he trades his real identity for his dead valet's. At first he likes the anonymity of being thought someone else, but then meets a winsome young woman and becomes conflicted.
Now actor Young can be quite droll as his Topper series shows, but here neither the material nor the direction brings out a comedic aspect. In fact, there's no spark at all from director Hopkins, which may account for his meager two credits. Maybe that's also why we get the asinine courtroom hijinks, appearing, as it were, an act of comic desperation. Overall, the movie comes across as a joyless narrative that somehow got committed to film. One positive thing, I guess Young learned that he needed to stick to real ghosts.
Now actor Young can be quite droll as his Topper series shows, but here neither the material nor the direction brings out a comedic aspect. In fact, there's no spark at all from director Hopkins, which may account for his meager two credits. Maybe that's also why we get the asinine courtroom hijinks, appearing, as it were, an act of comic desperation. Overall, the movie comes across as a joyless narrative that somehow got committed to film. One positive thing, I guess Young learned that he needed to stick to real ghosts.