Dietrich gets the most idiotic of all stories in this comedy/melodrama about a broke French noblewoman engaged to a wealthy New Orleans banker (Roland Young of "Topper" fame) and posing as her trashy cousin so she can continue to meet rough and tough ship's captain Bruce Cabot on the side. The bulk of the insipid plot line is told through the gossipy sniveling of the wealthy townsfolk, particularly Russian visitor Mischa Auer and his prissy sidekick Franklin Pangborn, with Laura Hope Crews and Anne Revere as Young's annoying family thrown in, kinsfolk which rightfully make Dietrich wince. Andy Devine and a cute little monkey provide what little humor there is.
The black servant played by Theresa Harris is a breath of fresh air, a beautiful and intelligent young lady not chubby and flamboyant like Louise Beavers and Hattie McDaniels' characters, or dimwitted like diminutive Butterfly McQueen, but a realistic and likable young lady who just happens to be black. There's a cute romantic subplot for her and Young's valet, played by Rex Evans. The non-stereotypical manner in which these characters are treated is a rare delight in old movies.
Told in flashback as if it were one of John Nesbitt's Passing Parade shorts (MGM's series of historical based films made throughout the 1930's and 40's), this claims to be a New Orleans legend, but there isn't anything in this plot to indicate any interest other than local gossip. A bit concerning dress store clerk Gus Schilling modeling a see-through ladies negligee is comical with its gay insinuations, as if the presence of sniffy Pangborn and sleazy gigolo Auer wasn't already.
The black servant played by Theresa Harris is a breath of fresh air, a beautiful and intelligent young lady not chubby and flamboyant like Louise Beavers and Hattie McDaniels' characters, or dimwitted like diminutive Butterfly McQueen, but a realistic and likable young lady who just happens to be black. There's a cute romantic subplot for her and Young's valet, played by Rex Evans. The non-stereotypical manner in which these characters are treated is a rare delight in old movies.
Told in flashback as if it were one of John Nesbitt's Passing Parade shorts (MGM's series of historical based films made throughout the 1930's and 40's), this claims to be a New Orleans legend, but there isn't anything in this plot to indicate any interest other than local gossip. A bit concerning dress store clerk Gus Schilling modeling a see-through ladies negligee is comical with its gay insinuations, as if the presence of sniffy Pangborn and sleazy gigolo Auer wasn't already.