Flynn may not be a dashing pirate, outlaw, warrior or gunslinger in this one, but his lovable aristocratic rogue persona still shines through in this rare superior romantic comedy. All the principals are perfectly cast, Flynn still looking in his prime at 36. His rather recently divorced wife is played by a winsome Eleanor Parker, and Patti Brady is great as their 7 year old daughter, intent on bringing her parents back together. I didn't see the first segment, so assume this couple split because of Flynn's indiscretions with his sexy models for his commercial artwork, which continues to be the main issue throughout the film. Clearly, Parker's family is very wealthy, living in a mansion worthy of Scarlett O'Hara. Flynn's character also appears to be from a wealthy family, he mostly exhibiting his aristocratic demeanor, despite his rather sleazy occupation. Nonetheless,toward the end, he is frequently on the losing end of altercations, flat on his back, in mocking contrast to his usual winning macho image.
Twice, Flynn dons disguises to try to scare away or outmaneuver romantic rivals for Parker. In the first case, he sneaks into Parker's mansion and dons a Santa outfit, as does his romantic rival in another part of the mansion. At one point, to avoid detection by his rival, he engages in mirror mimicry. That is, he mimics exactly the actions of his nemesis, as if the latter is looking in a mirror. I'm sure this has also been done by some other well-known physical comedians, including Bob Hope in 'The Princess and the Pirate'. Later, he made up a burlesqued version of Bogart's face at his most sinister, along with a tough gangster lingo, to try to scare away Parker's young marine romantic threat. It didn't work. Nonethless the film ends on a feel good note. One must assume that this ending either represented yet another short-lived reconciliation or that Parker's character decided that she would have to learn to tolerate Flynn's philandering ways, as preferable to their present arrangement with a chronically complaining daughter.
S.Z Sakall plays his usual role as an elderly overseeing father, uncle or confidant, with a very thick European accent. Here, he is a restaurateur where Flynn frequents with his blond model and presumed lover. Unfortunately, his various attempts to diffuse an embarrassing situation for Flynn all end in disaster. Sakall, a native Hungarian, was already an accomplished European actor before fleeing an impending Nazified Europe. He was most often included in various musical romances of the '40s and early '50s, after a supporting role in 'Casablanca'
Twice, Flynn dons disguises to try to scare away or outmaneuver romantic rivals for Parker. In the first case, he sneaks into Parker's mansion and dons a Santa outfit, as does his romantic rival in another part of the mansion. At one point, to avoid detection by his rival, he engages in mirror mimicry. That is, he mimics exactly the actions of his nemesis, as if the latter is looking in a mirror. I'm sure this has also been done by some other well-known physical comedians, including Bob Hope in 'The Princess and the Pirate'. Later, he made up a burlesqued version of Bogart's face at his most sinister, along with a tough gangster lingo, to try to scare away Parker's young marine romantic threat. It didn't work. Nonethless the film ends on a feel good note. One must assume that this ending either represented yet another short-lived reconciliation or that Parker's character decided that she would have to learn to tolerate Flynn's philandering ways, as preferable to their present arrangement with a chronically complaining daughter.
S.Z Sakall plays his usual role as an elderly overseeing father, uncle or confidant, with a very thick European accent. Here, he is a restaurateur where Flynn frequents with his blond model and presumed lover. Unfortunately, his various attempts to diffuse an embarrassing situation for Flynn all end in disaster. Sakall, a native Hungarian, was already an accomplished European actor before fleeing an impending Nazified Europe. He was most often included in various musical romances of the '40s and early '50s, after a supporting role in 'Casablanca'