The delightful Carole Lombard was at her comic height in 1936, whether playing the dizzy heiress of "My Man Godfrey", the frazzled socialite of "Love Before Breakfast", or the phony Swedish princess in this, a delightful screwball comedy set on an ocean liner that literally is murder. She spoofs the legendary Garbo here, giving a delightful Swedish accent that is comical yet not ridiculing. The fun starts on her trip when she finds concertina player Fred MacMurray inside her state room, and from there comes blackmail, a few murders, romance and the comedy of several people pretending to be who they are not. Lombard and MacMurray are surrounded by a top-notch supporting cast including the imperious Allison Skipworth as Lombard's dowager like companion (reminding me of the late Marie Dressler), William Frawley as MacMurray's crotchety pal (hysterical in a scene wearing a beret which looks like a bad toupee), Mischa Auer, Lumsden Hare, Sig Ruman and Douglas Dumbrille as a group of European detectives conveniently aboard to get involved in the murder investigation, Bradley Page as a mystery man stalking the detectives, and Porter Hall as the blackmailer.
This fun-filled voyage has a delightfully witty screenplay and everybody involved seems to be having a joyous time. After being rather obnoxious in their previous pairing ("Hands Across the Table"), MacMurray gets to downplay a bit here, and Lombard proves again as to why she was one of the most beloved actresses of the 1930's-she was simply divine, a rare actress under the age of 30 whom everybody could identify with. Her down to earth demeanor is visible through her high-falluting impersonation of the Swedish countess from Brooklyn and it becomes obvious as to why her tragic death in 1942 was mourned by the world.
Two of the screen's great 1930's movie villains (Dumbrille and Page) seem to be playing against type here, but the cleverness of the screenplay is such that not everything is as it seems. It's great to see MacMurray and Frawley together 25 years before they were paired together on "My Three Sons", ironic considering that Frawley's "MTS" replacement William Demarest had appeared with him in "Hands Across the Table". Don't be drinking when Lombard, in Swedish dialect, reveals to the American press the name of her favorite movie star.
This fun-filled voyage has a delightfully witty screenplay and everybody involved seems to be having a joyous time. After being rather obnoxious in their previous pairing ("Hands Across the Table"), MacMurray gets to downplay a bit here, and Lombard proves again as to why she was one of the most beloved actresses of the 1930's-she was simply divine, a rare actress under the age of 30 whom everybody could identify with. Her down to earth demeanor is visible through her high-falluting impersonation of the Swedish countess from Brooklyn and it becomes obvious as to why her tragic death in 1942 was mourned by the world.
Two of the screen's great 1930's movie villains (Dumbrille and Page) seem to be playing against type here, but the cleverness of the screenplay is such that not everything is as it seems. It's great to see MacMurray and Frawley together 25 years before they were paired together on "My Three Sons", ironic considering that Frawley's "MTS" replacement William Demarest had appeared with him in "Hands Across the Table". Don't be drinking when Lombard, in Swedish dialect, reveals to the American press the name of her favorite movie star.