Princesa por un mes

A thoroughly winning little depression-era romantic comedy, THIRTY DAY PRINCESS manages to turn it's fairly routine storyline into a fresh and engaging picture that entertains throughout it's entire runtime. The plot has the Princess of the imaginary country Taronia (Sylvia Sidney) touring the US as an ambassador for her financially struggling country, with the hope of securing a major loan from the US. Upon arrival, our unfortunate Princess is stricken with the mumps, and is replaced by a look-alike actress (also played by Sidney), who doubles the ill Princess until she filly recovers. Complicating matters, however, is an ambitious news executive (Cary Grant), who is skeptical of the US approving such a large loan and wants to get to know out titular princess first hand.

As evidenced by the summary above, the film's plot was flimsy and formulaic even by the standards of the mid-thirties, but the picture manages to surprise viewers by using such an overly-familiar plot device as a springboard for sharp dialogue and delightful, fully-realized performances. Any film of this nature is almost entirely dependent upon its lead performer, and Sylvia Sidney handles her dual role with utter conviction, truly convincing viewers that she is two completely different characters. There is also an irresistible chemistry between Sidney and the young Cary Grant, who offers flashes of the brilliant actor he would soon become. In the end, the film manages to escape its well-worn premise and emerge as a genuine delight as one of the more underrated comedies of the thirties.

THIRTY DAY PRINCESS (Paramount, 1934), directed by Marion Gering, is a lighthearted comedy starring Sylvia Sidney as Princess Catterina of Taronia coming to New York City to seal a loan for her homeland. Upon her arrival by ship, she acquires the mumps and is unable to create favorable public opinion for a proposed bond issue. Richard M. Gresham (Edward Arnold), a financial banker for her father, King Anotol (Henry Stephenson), whom he met earlier taking a mud bath, hires detectives to locate a substitute. They find one in Nancy Lane (Sylvia Sidney), a Idaho farm girl struggling to find work as a stage actress, who happens to be an exact double of the stricken princess. While impersonating the princess, Nancy meets Porter Madison II (Cary Grant), a newspaper publisher for the Star Express who, at first, is against Gresham's granting a large foreign loan, but has a change of heart when he becomes very much interested in the "princess," who turns out to be engaged to the bumbling Prince Basseria Nicholeus (Vince Barnett). Subsequent merry mix-ups add to the simple fun of the story.

What's rare about this seldom revived comedy is that it's Sylvia Sidney's only opportunity on screen in both comedy and assuming a dual role. Usually type-cast as a poor working girl struggling to fight the Depression, or a hard-luck girl in love with the wrong type of guy, THIRTY DAY PRINCESS is a welcome change of pace for Sidney, who handles this comedic assignment quite well. A pity she didn't do more comedies, even in the "screwball" genre of the mid thirties. THIRTY DAY PRINCESS marked Sidney's third and final opportunity appearing opposite Cary Grant, their best known collaboration being MADAME BUTTERFLY (Paramount, 1932), also directed by Marion Gering.

The supporting cast includes Lucien Littlefield (Parker); George Baxter (Donald Spottswood); Edgar Norton (The Baron); and Robert McWade (The Managing Editor). Preston Sturges, a future comedy director for Paramount in the 1940s, is credited for the screenplay.

THIRTY DAY PRINCESS has some bright comedic moments, many belonging to Sidney, including one where she does her own impersonation of Nancy as a sassy, gum-chewing secretary; and where impersonator Nancy Lane comes face to face with her look-alike princess, offering movie-goers two Sylvia Sidney's for the price of one.

Not quite on the hilarious side, but confidentially, a cute comedy that holds up quite satisfactory for 73 minutes. Even though it's not as well known as other comedies from this era, it's still worth viewing for the presence of Sidney and Grant, each succeeding in making THIRTY DAY PRINCESS to appear both original and entertaining fun. Never distributed to home video, availability has turned up in 2006 in the DVD format as a Cary Grant double feature package along with Paramount's other forgotten comedy, KISS AND MAKE-UP (1934), and broadcast on cable television's Turner Classic Movies (TCM premiere: August 7, 2020). (**1/2)

This film has two things that the people of 1934 sorely needed: a feel good love story, and cary grant! With sylvia sidney (got above the title billing), eddie arnold and henry stephenson. When king anatol wants to improve the living conditions for his people, he works out a deal with gresham, the banker. But when the princess is too sick to travel, gresham finds a look-a-like to take her place. And of course, the actress falls for madison. Complications, misunderstsandings, as the old friends of the actress think they have figured things out. Can they keep the secret until the princess goes back to her own country? And can they ever explain things to madison? It's a fun adventure, as an ordinary girl gets to be princess for thirty days. Directed by marion gering. Sidney, grant, and gering had made "madam butterfly" together, just prior to this. It's always interesting to see a screenplay by preston sturges, story by clarence kelland. It's fun to watch, as plain jane gets to be princess for a short time.

I liked this movie far more than expected - it's a quite funny mistaken identity kind of film - with the requisite newspapermen, wealthy men, princesses, romance that any Depression era comedy relish. I had some concern about the always serious Sylvia Sidney in a comedy - but her intelligence is just wonderful in the line readings - she's quite an actress.

Cary Grant is very young - and not quite as deft and light as in later years - but fine, not clunky at all.

Edward Arnold is thoroughly enjoyable in the kind of role he was born to play - the plutocrat. I particularly enjoyed the amusing discussion (hard to imagine in a film now) with the king of the necessary size for the bond issue for Taronia's electrification.

There is further interest in the comedy's deadly serious background of extreme poverty/destitution/fear of hunger that haunts the film - it's very much there in the asides, in the protagonist's motivation.

I hadn't realized that Sylvia Sidney (known as a real symbol of the Great Depression) and Cary Grant had worked together twice before. They work very well - and she's far prettier than I remembered.

You'll enjoy this one - the writing (by Sturges and others) is truly sparkling, the comedy is fast, intelligent and the show charming.

The film opens with banker Richard Gresham (Edward Arnold) meeting King Anatol XII (Henry Stephenson) in a mud bath in the king's European country of Taronia. The king mentions that he'd love to be able to give his people some modern conveniences that Americans take for granted, but that the country is too poor. The banker says he could float fifty million dollars in bonds, but that it would require a good will tour by the royalty of Taronia. The king mentions that when kings leave their country they are often not allowed to return, and suggests that his daughter Catterina (Sylvia Sidney) do the good will tour in his place.

When the princess reaches America she comes down with the mumps and must be quarantined for a month. So Gresham scours New York City for a look alike for the princess and finds her in impoverished struggling actress Nancy Lane (also Sylvia Sidney of course), who will be paid ten thousand dollars for pulling off the impersonation. Complications ensue, not the least of which is that high minded newspaper publisher Porter Madison III (Cary Grant) has a running beef with Gresham and thinks that this bond business must be shady dealings AND Gresham thus instructs stand in Nancy Lane to "vamp" him.

Cary Grant is finding his lane in comedy at this point, and it is refreshing to see Sylvia Sidney do comedy after watching her play the tragic figure in so many films. There's lots here that is pure Great Depression or at least pure pre WWII Europe- Gresham as unscrupulous capitalist, an automat turkey dinner turning ordinary people into thieves because they are starving, fast talking reporters willing to believe and do anything to get a leg up on a story, and tiny European countries that nobody has ever heard of that sound like they exist in a snow globe. And then there is Vince Barnett who steals the show as a Taronian count who is a completely unappealing man in just about every way possible.

And then there is Grant's character Porter Madison III. Madison may sound high minded, but in the end he changes his mind about the bond issue because he falls for the big sad eyes of "the princess", not because he is convinced that the investment is fundamentally sound. So Gresham does have his number in that regard.

This one doesn't have any individual great one liners like a Lubitsch, but the situations are charming, and it is an enjoyable watch with no real villains, or at least effective ones, in sight.