Heiress Sally O'Neil has spent so much money, trustee Wilfred Lucas tells her, she has only $300 for the rest of the year. In addition, her half-naked dancing at a party the police raided has hit the front pages of the tabloids. To lie low, she goes to New Orleans for Mardi Gras. On the train, she meets Rae Dagget, an exotic dancer also heading thither. Lucas has engineer Paul Page follow Miss O'Neil to keep an eye on her, and to generally annoy her. He makes friends with policeman Fred Kelsey, who's following Miss Dagget; apparently she does more than dance.
Miss O'Neil manages to speak with almost all of her Joisey City accent suppressed -- or perhaps I've been looking at too many Yolande Donlan movies recently -- and there is some nice footage of the Mardi Gras in progress. Fred Newmeyer's direction doesn't take much advantage of the situations to be funny, except for Lucas' harassed expressions. It loudly suggests that his credit as a director of Harold Lloyd comedies was more a matter of Lloyd's modesty than Newmeyer's abilities. The performers all do creditable jobs, but as in many a Poverty Row production, the result is more interesting for possibilities than the execution.
Miss O'Neil manages to speak with almost all of her Joisey City accent suppressed -- or perhaps I've been looking at too many Yolande Donlan movies recently -- and there is some nice footage of the Mardi Gras in progress. Fred Newmeyer's direction doesn't take much advantage of the situations to be funny, except for Lucas' harassed expressions. It loudly suggests that his credit as a director of Harold Lloyd comedies was more a matter of Lloyd's modesty than Newmeyer's abilities. The performers all do creditable jobs, but as in many a Poverty Row production, the result is more interesting for possibilities than the execution.