Ajouter une intrigue dans votre langueA rich businessman stalks another man's fiancée.A rich businessman stalks another man's fiancée.A rich businessman stalks another man's fiancée.
Diana Gibson
- Secretary
- (as Diane Gibson)
George Beranger
- Charles
- (as George Andre Beranger)
Sylvia Andrew
- Secretary
- (uncredited)
William Arnold
- Waiter
- (uncredited)
Jimmy Aye
- Petty Officer
- (uncredited)
Ed Barton
- Jerry - Cabby
- (uncredited)
Jay Belasco
- Undetermined Secondary Role
- (uncredited)
Avis en vedette
I enjoyed "Love Before Breakfast" very much and think with a slight re-write it could have earned a 9, as it was a nice little screwball comedy.
The film begins with a very rich industrialist (Preston Foster) buying an oil company just so he can transfer a guy overseas (Cesar Romero) in order to have a chance at the girl (Carole Lombard). Now Foster isn't a total jerk--the transfer is a promotion for Romero and he's thrilled to take it. The plan is for Romero to stay in Japan for two years and then return to marry Lombard. However, it's pretty obvious that this relationship has some problems--not the least of which is the conniving Foster. Now it could be easy to dislike Foster since he is manipulative and a bit of a stalker, however, the writers did a good job making his character likable. He's rich but a pretty swell guy. Heck, I might have married him if he'd asked! But, as for Lombard, she gives him a very hard time--after all, Foster IS responsible for the boyfriend going overseas. And, after a while, she does come to like Foster and is willing to marry him instead. However, Foster isn't happy with this--after all, if Romero was home, would she still be willing to do this? So, he brings Romero back and treats him with every kindness to allow Lombard a chance to choose. Who she chooses, how and why is something you'll just have to see for yourself.
I liked this story very much, but did have a complaint about one thing. I think that Lombard's character was made a bit too volatile and annoying. It got bad enough towards the end that I could not believe that Foster would still want such a nasty...um...'lady'. As for the rest of the cast, they are quite dandy. I liked Lombard's mother and the dog (an adorable little thing), but I especially liked the small part played by Richard Carle--he wasn't in the movie a lot, but was great in the scenes where he appeared.
Overall, an enjoyable little comedy only marred, very slightly, by a female character that is, at times, just a bit too annoying and snippy. Still, give it a look--it's a nice forgotten little film.
The film begins with a very rich industrialist (Preston Foster) buying an oil company just so he can transfer a guy overseas (Cesar Romero) in order to have a chance at the girl (Carole Lombard). Now Foster isn't a total jerk--the transfer is a promotion for Romero and he's thrilled to take it. The plan is for Romero to stay in Japan for two years and then return to marry Lombard. However, it's pretty obvious that this relationship has some problems--not the least of which is the conniving Foster. Now it could be easy to dislike Foster since he is manipulative and a bit of a stalker, however, the writers did a good job making his character likable. He's rich but a pretty swell guy. Heck, I might have married him if he'd asked! But, as for Lombard, she gives him a very hard time--after all, Foster IS responsible for the boyfriend going overseas. And, after a while, she does come to like Foster and is willing to marry him instead. However, Foster isn't happy with this--after all, if Romero was home, would she still be willing to do this? So, he brings Romero back and treats him with every kindness to allow Lombard a chance to choose. Who she chooses, how and why is something you'll just have to see for yourself.
I liked this story very much, but did have a complaint about one thing. I think that Lombard's character was made a bit too volatile and annoying. It got bad enough towards the end that I could not believe that Foster would still want such a nasty...um...'lady'. As for the rest of the cast, they are quite dandy. I liked Lombard's mother and the dog (an adorable little thing), but I especially liked the small part played by Richard Carle--he wasn't in the movie a lot, but was great in the scenes where he appeared.
Overall, an enjoyable little comedy only marred, very slightly, by a female character that is, at times, just a bit too annoying and snippy. Still, give it a look--it's a nice forgotten little film.
Last Night I watched A Good Old Fashioned Orgy (2011)a movie that supposedly represents a modern day romantic comedy, I didn't get one laugh and the bevy of actresses in that movie all combined couldn't compare to Carole Lombard.
I love Lombard's movies she's always entertaining as well as strikingly beautiful, this movie came out the same year as "My Man Godfrey" and while this movie can't compare to Godfrey I think Carole with her starring role in this film is more of a showcase for her. The plot is nothing special, spoiled rich girl and powerful businessman go head to head, but it's the performances especially the chemistry between Lombard and Preston that make this movie worth seeing.
I love Lombard's movies she's always entertaining as well as strikingly beautiful, this movie came out the same year as "My Man Godfrey" and while this movie can't compare to Godfrey I think Carole with her starring role in this film is more of a showcase for her. The plot is nothing special, spoiled rich girl and powerful businessman go head to head, but it's the performances especially the chemistry between Lombard and Preston that make this movie worth seeing.
The film's premise is straightforward: Lombard plays Kay Colby, a young socialite convinced she's in love with Bill Wadsworth (Cesar Romero), a fellow quickly identified as the douche who is all wrong for her. Her Mr. Right is Preston Foster's Scott Miller, who happens to own the oil company Wadsworth works for.
We quickly discover Miller is in love with Colby. He's also manipulative and sneaky, for as the film opens we find Miller is purposefully sending her rather self-centred beau away on assignment on a ship to Japan . And he manages to finagle it so that his own Ms. Wrong, a yappy countess with an entourage of similarly disposed dogs, is going on the same ship. Colby and Wadsworth bump into him (more accurately, they bump into his parked car and then him) at the dock.
So the stage is set for an epic 2nd act featuring the screwball comedy battle of wills, which will steadily escalate in madness and will only let up in the last minute.
The film is not as wicked as 'Mr. & Mrs. Smith', which has very similar sort of screwball formula (sneaky guy pursuing girl as opposed to sneaky girl pursuing guy ala 'Bringing up Baby'), but like that film, this one features Lombard doing what she does best: make you want to kiss and kill her at the same time. She's so good that it makes up for the inadequacies of the leading man, Preston Foster, who is not a good enough listener as an actor to create the sort of chemistry a William Powell or Cary Grant could form with an ugly lamp (see Powell's work in 'My Man Godfrey' opposite Lombard, whom he had not too long before filming divorced!). Foster's all right when we don't have to watch him react to Lombard, but his comic timing and general shtick is uneven. I suspect the director must have figured this out, as the camera is kind in allowing her to create the illusion of a relationship twixt the two a fair amount of the time.
Another interesting phenomenon is the visceral similarity in appearance of the two men (they look alike and both have dark hair with trimmed mustaches) vying for Lombard's Colby, which was aesthetically dissonant for me. I think at the very least one of the staches could have gone, just so douche-bag and good guy don't become perceptually associated in our minds.
The indulgence of quibbles aside, the film's moments of charm and Lombard's mastery of screwball comedy's delectable form of erotica make it well worth seeing if you're fond of the genre.
We quickly discover Miller is in love with Colby. He's also manipulative and sneaky, for as the film opens we find Miller is purposefully sending her rather self-centred beau away on assignment on a ship to Japan . And he manages to finagle it so that his own Ms. Wrong, a yappy countess with an entourage of similarly disposed dogs, is going on the same ship. Colby and Wadsworth bump into him (more accurately, they bump into his parked car and then him) at the dock.
So the stage is set for an epic 2nd act featuring the screwball comedy battle of wills, which will steadily escalate in madness and will only let up in the last minute.
The film is not as wicked as 'Mr. & Mrs. Smith', which has very similar sort of screwball formula (sneaky guy pursuing girl as opposed to sneaky girl pursuing guy ala 'Bringing up Baby'), but like that film, this one features Lombard doing what she does best: make you want to kiss and kill her at the same time. She's so good that it makes up for the inadequacies of the leading man, Preston Foster, who is not a good enough listener as an actor to create the sort of chemistry a William Powell or Cary Grant could form with an ugly lamp (see Powell's work in 'My Man Godfrey' opposite Lombard, whom he had not too long before filming divorced!). Foster's all right when we don't have to watch him react to Lombard, but his comic timing and general shtick is uneven. I suspect the director must have figured this out, as the camera is kind in allowing her to create the illusion of a relationship twixt the two a fair amount of the time.
Another interesting phenomenon is the visceral similarity in appearance of the two men (they look alike and both have dark hair with trimmed mustaches) vying for Lombard's Colby, which was aesthetically dissonant for me. I think at the very least one of the staches could have gone, just so douche-bag and good guy don't become perceptually associated in our minds.
The indulgence of quibbles aside, the film's moments of charm and Lombard's mastery of screwball comedy's delectable form of erotica make it well worth seeing if you're fond of the genre.
Having now watched Universal’s CAROLE LOMBARD: THE GLAMOUR COLLECTION in its entirety, I can say that of the 6 films included two are classics – HANDS ACROSS THE TABLE (1935) and TRUE CONFESSION (1937) – two more are lesser efforts but still delightful – WE’RE NOT DRESSING (1934) and THE PRINCESS COMES ACROSS (1936) – while the remaining two titles are essentially routine and wouldn’t have stood a chance had they been released on their own (the set being devoid of any substantial extras, they could then be considered as such).
That is not to say that this particular vehicle (which I wasn’t familiar with) isn’t a pleasant diversion per se – at 70 minutes, it’s certainly innocuous enough; still, comparing it to the comic gems on offer in this set, it definitely comes up lacking! To begin with, there’s nothing remotely original about either plot (Lombard is torn between two men – one is wealthy and conceited but genuinely in love, the other is ambitious and something of a playboy) or setting (high society); true, this type of romantic comedy was typical for Depression-era America – but it’s among the most trivial examples of escapist fare that I’ve watched!
Besides, Lombard is let down by her leading men – after all, Preston Foster and Cesar Romero are hardly Fred MacMurray and Ralph Bellamy (who played similar, but more rounded, characters in HANDS ACROSS THE TABLE)...and the same thing can be said of director Walter Lang (here demonstrating little of the style conveyed by Mitchell Leisen throughout HANDS, or even the inspired craziness of TRUE CONFESSION). Actually, the whole enterprise feels invincibly second-rate: however, one shouldn’t blame this on the change in studio from Paramount (which made all the other titles in this set) to Universal because, truth be told, Lombard’s next outing – MY MAN GODFREY (1936; also released by the latter) – proved to be one of her best films!
LOVE BEFORE BREAKFAST, then, features all the typical ingredients: love/hate relationship, misunderstanding, embarrassment, romantic threat, etc. Richard Carle appears as an elderly gentleman who, in spite of being a bachelor, offers Foster advice on his amorous situation; climaxing with an unconvincing storm at sea, this sequence is nonetheless capped by an amusing – and most unconventional – wedding ceremony presided over by familiar character actor E. E. Clive!
That is not to say that this particular vehicle (which I wasn’t familiar with) isn’t a pleasant diversion per se – at 70 minutes, it’s certainly innocuous enough; still, comparing it to the comic gems on offer in this set, it definitely comes up lacking! To begin with, there’s nothing remotely original about either plot (Lombard is torn between two men – one is wealthy and conceited but genuinely in love, the other is ambitious and something of a playboy) or setting (high society); true, this type of romantic comedy was typical for Depression-era America – but it’s among the most trivial examples of escapist fare that I’ve watched!
Besides, Lombard is let down by her leading men – after all, Preston Foster and Cesar Romero are hardly Fred MacMurray and Ralph Bellamy (who played similar, but more rounded, characters in HANDS ACROSS THE TABLE)...and the same thing can be said of director Walter Lang (here demonstrating little of the style conveyed by Mitchell Leisen throughout HANDS, or even the inspired craziness of TRUE CONFESSION). Actually, the whole enterprise feels invincibly second-rate: however, one shouldn’t blame this on the change in studio from Paramount (which made all the other titles in this set) to Universal because, truth be told, Lombard’s next outing – MY MAN GODFREY (1936; also released by the latter) – proved to be one of her best films!
LOVE BEFORE BREAKFAST, then, features all the typical ingredients: love/hate relationship, misunderstanding, embarrassment, romantic threat, etc. Richard Carle appears as an elderly gentleman who, in spite of being a bachelor, offers Foster advice on his amorous situation; climaxing with an unconvincing storm at sea, this sequence is nonetheless capped by an amusing – and most unconventional – wedding ceremony presided over by familiar character actor E. E. Clive!
In between her stunning hits with Fred MacMurray, Carole Lombard found time to get loaned out to Universal from Paramount for My Man Godfrey and Love Before Breakfast. The first of course is a comedy classic with nice social overtones. The second is an all right comedy, but not up to the standards she set with Fred MacMurray at Paramount.
It's the usual romantic triangle with Carole caught between Cesar Romero who has her and Preston Foster who wants her. Both of them are in the oil business and Foster has just bought out Cesar's company and now he works for Foster. To clear the field he sends Cesar off to Japan to their new branch office, but Carole thinks that's not playing fair. So Preston's going to have to put on a big campaign to win her.
Of course that's helped along when Carole sees a photograph of Romero in Tokyo looking like he's living it up. But the rather arrogant Foster overplays his hand a bit. It's a close race right up to the finish to see who will get Carole, but I think it's rather obvious.
Some criticism was made of Foster and while he didn't exactly do much in the way of comedy, I think he handled it well in this film. Romero was his charming best and two performances in the cast also deserve to be singled out. One is Janet Beecher as Lombard's wise mother and the other is Joyce Compton as an empty headed southern belle who Lombard almost foists on Foster.
Love Before Breakfast is a bit of a dip in the career of Carole Lombard, but not anything her fans would notice, either back in 1936 or now.
It's the usual romantic triangle with Carole caught between Cesar Romero who has her and Preston Foster who wants her. Both of them are in the oil business and Foster has just bought out Cesar's company and now he works for Foster. To clear the field he sends Cesar off to Japan to their new branch office, but Carole thinks that's not playing fair. So Preston's going to have to put on a big campaign to win her.
Of course that's helped along when Carole sees a photograph of Romero in Tokyo looking like he's living it up. But the rather arrogant Foster overplays his hand a bit. It's a close race right up to the finish to see who will get Carole, but I think it's rather obvious.
Some criticism was made of Foster and while he didn't exactly do much in the way of comedy, I think he handled it well in this film. Romero was his charming best and two performances in the cast also deserve to be singled out. One is Janet Beecher as Lombard's wise mother and the other is Joyce Compton as an empty headed southern belle who Lombard almost foists on Foster.
Love Before Breakfast is a bit of a dip in the career of Carole Lombard, but not anything her fans would notice, either back in 1936 or now.
Le saviez-vous
- AnecdotesAlthough Faith Baldwin is credited onscreen as writer of a novel, it was actually just a short story in a magazine. No novel was ever published.
- GaffesAbout 5 minutes into the movie, a horse-drawn taxi backs into a car & damages it's left headlight but in the next scene, it is the right headlight that is damaged & even more so.
- Citations
Kay Colby: Incidentally, what's happened to the Count? Where is he?
Scott Miller: Where are the snows of yesteryear?
Kay Colby: Where the woodbine twineth.
Scott Miller: That's where the Count is.
- Générique farfeluCard after ending credits: "Thank You"
- Autres versionsThere is an Italian edition of this film on DVD: " LA BISBETICA INNAMORATA (1938) + FESTA D'AMORE (1945)", distributed by DNA Srl (2 Films on a single DVD), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
- ConnexionsReferenced in Hollywood Hist-o-Rama: Carole Lombard (1961)
- Bandes originalesThe Old Gray Mare
(uncredited)
Traditional
Sung by the college boys after the brawl
Meilleurs choix
Connectez-vous pour évaluer et surveiller les recommandations personnalisées
- How long is Love Before Breakfast?Propulsé par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Spinster Dinner
- Lieux de tournage
- société de production
- Consultez plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 10 minutes
- Couleur
- Rapport de forme
- 1.37 : 1
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant
Lacune principale
By what name was Love Before Breakfast (1936) officially released in India in English?
Répondre