La bribona del armiño

Paulette Goddard deserves to have this movie seen and enjoyed, and so do we. She was a charming actress, and this film gave her a chance to show it. Ray Milland is also a very charming cad. It's been too long since I've seen it, on TV when I was much younger, but I remember how much I liked it. For years I think I had it confused with FOREVER AMBER, but I was able to get ahold of that film on VHS a couple of years ago, and was greatly disappointed--I thought it sure wasn't as good as I remembered. It wasn't until I happened upon KITTY while looking at films done by Paulette, whom I also loved in REAP THE WILD WIND, that I realized I was disappointed by AMBER because it was not KITTY. Well, so it goes.

Come on, whoever owns the Paramount vault, dig into it. And look at other Mitchell Leisen films too, like HOLD BACK THE DAWN, TO EACH HIS OWN, and LADY IN THE DARK (which I don't think I've seen but would love to). He is one of the great UNDISCOVERED directors.

Give us DVDs--PLEEEEZE.

leisen

Other IMDb comments on this one tell all that ought to be said about this lavish feast, unaccountably mounted in black-and-white when Technicolor was obviously called for. I suspect that the iron control that Natalie Kalmus exercised on almost every Technicolor film made through at least the mid-Forties discouraged many a producer from adding the extra expense to the budget, burdening his crew with the cumbersome three-strip cameras and the hellishly hot lighting they required, and the high cost of the final prints. Now that virtually every film is made in color, we forget that making a film in color prior to the introduction of Technicolor's own single-strip process and its rivals (i.e., Metrocolor, Warnercolor, DeLuxe Color, etc.) was a very big deal, indeed. Which is not in the least meant to say that Hollywood's artisans did not achieve some memorably beautiful work using black-and-white cameras. "Kitty" is a prime example, with a luxurious production and a cast fully able to flesh out the script's frequently funny evocation of a very pre-modern England. Even on a TV broadcast which I caught many years ago, this one was a thoroughly entertaining and eye-filling treat, and it would certainly merit a VHS and/or DVD release in my estimation.

If you have not seen this film, you are missing a great classic film. Director Mitchell Leisen's skill with art design, his precise handling of actors, and an attention to detail are quite obvious. What is also obvious is that the picture's sets and furniture have that grandiose William Hearst feel to it. Later, I was not surprised to find out that Leisen had indeed borrowed items from Hearst . Maybe the publishing magnate was hoping that Paramount's director would cast main squeeze Marion Davies in the title role. That obviously did not happen. But we do have Paulette Goddard, who despite the dazzling array of Hearst treasures, is perhaps the most ornate piece of set décor on screen.

This film was a wonderful tribute to Paulette Goddard's looks and abilities. At the top of her career, she proves that she is one of Hollywood's most glamorous enduring stars. In this film she plays a guttersnipe that is chosen by Gainsborough (played wonderfully by Cecil Kellaway) to have her portrait painted in typical Gainsborough fashion. As she poses for him two handsome dandies stop by for a visit, only to be bewitched by her beauty, thinking she is of noble birth, much to Kellaway's amusement. Upon learning the truth, Ray Milland, trains Kitty to head for bigger prey, hoping to make himself rich, as he is living way over his means. Of course, she falls in love with him. Along the way to fame, Kitty becomes a Duchess and goes her own way to success, even though she still loves Milland. In the end, love wins out. A wonderful performance is also given by Constance Collier as Milland's drunken lady friend in conspiracy. The scene when she is introduced to the waif Goddard and is reposing, drunk in her bed, is hysterical. 5 stars to this one. Goddard never looked lovelier. In fact,I have an original color poster from the film. A vintage collection I am quite proud of.

Amusing and witty story of a street girl (Paulette Goddard) in 18th century London, who rises to become a duchess.

Of particular note is Constance Collier, showing off a brilliant flare for comedy as Lady Susan Dowitt, an aging courtesan who instructs Goddard in matters of gentility. Constance had a long career on stage and screen going back to the silent era, and this film displays her talents as a fine comedienne.