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Beautiful, multitalented Ginger Rogers is -guess what - a beautiful and multitalented movie star in In Person from 1935, also starring George Brent.

After a nervous collapse, a popular film star, Carol Corliss, goes into hiding, donning an ugly duckling disguise. Her psychiatrist thinks time in a mountain cabin will do her good, and asks a outdoorsman (Brent) to accompany her.

At first he doesn't know who she is, but he discovers her identity soon enough.

Then her frequent costar (Alan Mowbray) shows up, declaring his love and wanting her to return to Hollywood.

Pleasant enough, but Ginger's singing and dancing really are the highlights. She and Brent have good chemistry.

Made between TOP HAT and FOLLOW THE FLEET, Ginger Rogers gives a performance far superior to the material of IN PERSON, a comedy/musical with a lame script and three fine songs composed by Oscar Levant and Dorothy Fields, two of them featuring sprightly dances from Ginger. Rogers plays a famous movie actress trying to recover from an attack of agoraphobia. Somehow she winds up at a cabin retreat with George Brent, himself more animated than usual, as he pretends not to know who she is, which apparently is meant to be some sort of a treatment for her mental problem. Most notable is Ginger's disguise, which features the inevitable glasses along with a dark wig and fake teeth. I, at least, found her quite unrecognizable thanks to those teeth, and Ginger does act like an entirely other person in posture and mannerism and even with a subtly different voice. It's a very fine performance.

Unfortunately there's nothing very funny about these scenes. Indeed, other characters treat her quite rudely, reacting to her looks as if she were the Elephant Man or something. Once up at the cabin the plot progresses like a mild I LOVE LUCY episode with the exception of the three musical interludes: 'A New Lease On Life' is a clever, light song accompanied by a clever, cute tap dance, one that might be easily compared with Astaire's 'Needle in a Haystack' routine from THE GAY DIVORCEE. Later Ginger sings 'Don't Mention Love To Me' in a 'movie within a movie' scene, not the sort of number that suited her voice. Finally we get 'Out Of Sight, Out Of Mind' complete with a full male chorus. This one is shot as a film being made on the RKO lot, and the movie will end in Ginger Roger's actual dressing room. The song, dance and setting are much more interesting than the plot twists, silly even by screwball standards and not nearly so funny as the good screwball efforts of the era.

IN PERSON turned a decent profit, probably due to Ginger Rogers' popularity more than anything. It was her first solo billing above the title, and if she wasn't already RKO's most popular star, she soon would be.

I am going to rate this a little higher than some of the other reviewers. The plot here is less awkward than the creaky plot mechanics of the 1936 Astaire/Rogers "Swing Time" (which, despite the artificiality of the "are cuffs on formal trousers in season?" plot device, is nevertheless a masterpiece). Most fans of musicals would agree that "Swing Time" rates a 10. "In Person" has at least one great song-and-dance number -- "Out of Sight, Out of Mind" with music by legendary Oscar Levant and lyrics by Dorothy Fields (among Fields's hundreds of songs is the Oscar-winning "The Way You Look Tonight" in "Swing Time"). Ginger looks sexily charming even with the fake buck teeth and the glasses. This film is not on the level of "Swing Time," but at least it has a less annoying plot.

I was delightfully surprised at how fresh this film is! Ginger Rogers shines and sparkles! The songs in this film are also excellent examples of Dorothy Field's work. The songs, with their intelligent lyrics and as-always-wonderful staging of Hermes Pan, more than make up for Ginger's somewhat flat voice (What happened? She's on key with Astaire...) And believe it or not, dull old George Brent even has a twinkle in his eye or maybe even two--not as good as his early 30's work, but the most lively I've seen him in any of his other films. The plot is typical screwball of the times; no worse, no better. Overall this film is well worth seeing for light, cheerful entertainment.

George Brent is imported from Warner Brothers to co-star with Ginger Rogers in In Person. Ginger is a movie star who is craving a little peace and quiet away from her adoring public. She gets that, but she also gets psychologist Brent along for the ride. All without her knowing of course. She just thinks of Brent as a he man outdoors type and he pretends he doesn't know she's a big movie star.

Ginger has some good scenes learning how to rough it in the woods, but the film overall is rather silly. The best thing it has going for it are some musical numbers for her in it without Fred Astaire. Alan Mowbray as her leading man and a stuffed shirt to boot stands out in the supporting cast.

Ginger's legion of fans should like this.