Review: ‘Now and Forever’

Now and Forever has Shirley Temple. It also has Gary Cooper and Carole Lombard, who almost make the unbelievable romantic crook yarn [by Jack Kirkland and Melville Baker] ring true - not forgetting Guy Standing's admirable performance as a debonair renegade.

Now and Forever has Shirley Temple. It also has Gary Cooper and Carole Lombard, who almost make the unbelievable romantic crook yarn [by Jack Kirkland and Melville Baker] ring true – not forgetting Guy Standing’s admirable performance as a debonair renegade.

It’s another version of Little Miss Marker, the Temple child being Cooper’s offspring by a former marriage. His impossibly supercilious socialite in-laws want to keep the child away from the roving renegade of a father’s influence and he sees a $75,000 bankroll in that. Only Cooper forgets his hunger for economic wherewithal and resumes practical custody of the baby.

After turning a little grand larceny in New York for a $5,000 stake the action shifts to Paris and Juan-les-Pins. (It opened in Shanghai, impressing the constant on-the-hop battles which the romantically newly wedded pair, Cooper and Lombard, have had with the minions of the law.)

If some of Temple’s allotted dialog is a bit sophisticated for a tot, she, too, offsets any captiousness by the thoroughly winsome manner of celluloid histrionics.

Now and Forever

Production

Paramount. Director Henry Hathaway; Producer Louis D. Lighton; Screenplay Vincent Lawrence, Sylvia Thalberg; Camera Harry Fischbeck; Editor Ellsworth Hoagland; Art Director Hans Dreier, Robert Usher

Crew

(B&W) Extract of a review from 1934. Running time: 83 MIN.

With

Gary Cooper Carole Lombard Shirley Temple Guy Standing Charlotte Granville Gilbert Emery
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