Title is trite, but the picture is fresh, clever, excellently directed and produced, and acted by an ensemble that clicks from start to finish.
Title is trite, but the picture is fresh, clever, excellently directed and produced, and acted by an ensemble that clicks from start to finish.Leslie Howard and Bette Davis are Shakespearean stars. At the conclusion of a performance, a debutante (Olivia de Havilland) gushes her infatuated adoration for Howard, who senses the prospects of an adventure. Then the girl’s fiance puts in an appearance, appeals to the more generous side of the star and persuades him to become his weekend guest and cure the girl of her madness, by behaving in a boorish manner. Maurice Hanline wrote the original story. Casey Robinson built it into a scenario which sparkles with witty lines, farcical situations and just enough common sense and serious moments to balance perfectly. Howard’s part is possessed of unlimited chances for satiric points, none of which seem to have been missed. Eric Blore, as the star’s alter ego and valet, is capital with his antics. De Havilland plays a straight part, and she does it excellently. Bette Davis is the understanding woman of the world, wise in her true estimates of the fickleness of men. The role is a distinct departure from the heavier type of things which she usually plays, and she reveals a fine sense of comedy.
It's Love I'm After
Warner. Director Archie Mayo; Producer [Harry Joe Brown]; Screenplay Casey Robinson; Camera James Van Trees; Editor Owen Marks; Music [Heinz Roemheld]; Art Director Carl Jules Weyl
(B&W) Extract of a review from 1937. Running time: 90 MIN.
Leslie Howard Bette Davis Olivia de Havilland Patric Knowles Eric Blore George Barbier