Assorted character types and controlled chaos make this a lively precode farce from RKO. The script's a bit uneven in spots, but energetic performances from Jimmy Durante and Lupe Velez keep things entertaining. Interestingly, their hyper exaggerated brand of comedy is balanced out by subdued performances from Norman Foster and William Gargan.
The plot's almost irrelevant. Durante is a big time radio celebrity whose musical comedy act is supported by Velez, his attractive partner. Velez has designs on getting more attention, but Durante takes all the best jokes. Granted, most of these jokes have whiskers on them and aren't too funny.
When Durante decides on a whim to fire his joke writer (Franklin Pangborn), an ambitious agent (Gargan) suggests a new guy nobody has ever heard of before-- Foster. What makes this scenario amusing is that Foster fancies himself a serious literary wordsmith. He's a poet and a philosopher, albeit a starving one, who has talent but is unemployed.
Part of what I enjoyed about the film's wacky premise is that it pokes fun at the creative process. Plus we see how artistic goals are often compromised by commercial enterprise. Foster does nicely as a sincere bohemian who sells out. But it's really Durante's picture. Durante gives a razor sharp portrayal of an egomaniacal star, yet still manages to make the lout fairly likable.
There are several uproarious scenes where Durante bosses around his underlings who usually wait for orders at the foot of his bed. Then there is Durante's love-hate relationship with Velez. However, the best moments are when they're wowing the radio audience with their patented shtick.
A few of the characters are tempted by extra-marital flings, lest we forget this is precode Hollywood. But none of what happens on screen is too shocking. It's all rather harmless dynamite.
The plot's almost irrelevant. Durante is a big time radio celebrity whose musical comedy act is supported by Velez, his attractive partner. Velez has designs on getting more attention, but Durante takes all the best jokes. Granted, most of these jokes have whiskers on them and aren't too funny.
When Durante decides on a whim to fire his joke writer (Franklin Pangborn), an ambitious agent (Gargan) suggests a new guy nobody has ever heard of before-- Foster. What makes this scenario amusing is that Foster fancies himself a serious literary wordsmith. He's a poet and a philosopher, albeit a starving one, who has talent but is unemployed.
Part of what I enjoyed about the film's wacky premise is that it pokes fun at the creative process. Plus we see how artistic goals are often compromised by commercial enterprise. Foster does nicely as a sincere bohemian who sells out. But it's really Durante's picture. Durante gives a razor sharp portrayal of an egomaniacal star, yet still manages to make the lout fairly likable.
There are several uproarious scenes where Durante bosses around his underlings who usually wait for orders at the foot of his bed. Then there is Durante's love-hate relationship with Velez. However, the best moments are when they're wowing the radio audience with their patented shtick.
A few of the characters are tempted by extra-marital flings, lest we forget this is precode Hollywood. But none of what happens on screen is too shocking. It's all rather harmless dynamite.