Call It a Day

Its title suggests that the action in this film takes place in a 24-hour period and that its happenings are of little consequence. This adaptation of a Dodie Smith play does occupy only one day, and some of the day's happenings will probably seem like dreams in the reset of another night's sleep.

There is a manic energy in the air as the day begins in the Hilton household. It is the first day of Spring and, much like a troupe of Shakespearian characters, they are greatly influenced by the seasonal airs and the vernal moon. Inspired, they are, to flights of fancy and foolishness.

The narrative is divided into various subplots for the numerous characters, so each actor has limited camera time, but the acting is credible. I especially enjoyed the performance of Roland Young as the older man who instantly falls in love with Mrs. Hilton and---at least for a day-is willing to upend his life for this singular passion. And I found Marcia Ralston charming as an American actress who tempts Mr. Hilton; she has a screen presence reminiscent of Kay Francis.

Though British conventions are bent, they are never broken in this ebullient farce. All's well that ends well. And no one ever misses a tea time.

Frieda Inescort and Ian Hunter lead a solid cast in this minor but pleasant comedy about a London family's dreams and adventures over the course of a single day.

A pair of spirited daughters have some good scenes; Olivia de Havilland is obsessed with married painter Walter Woolf King, for whom she is modelling, while 14-year-old Bonita Granville is in love with the poetry and paintings of Dante Gabriel Rossetti. Their brother Peter Willes, meanwhile, is planning to run away from home—until he meets new neighbor girl Anita Louise. These young people are all attractive and funny, but their stories pop into the picture sporadically then disappear for long stretches, with the result that we kind of forget about them.

Roland Young is fine as an old bachelor who initially mistakes Inescort for his blind date and then, even after he discovers that she is married, insists that he loves her and attempts to romance her. Meanwhile, Inescort's accountant husband Hunter is pursued by slinky actress Marcia Ralston, who invites him to come up and see her sometime—not, it turns out, to work on her taxes.

The plot is inoffensive if not particularly inspired; the performances are all quite good and the characters too are likable. Still, there's something missing, and it's not just the fact that the whole thing is pretty dated. Possibly there are too many main characters for a 90-minute movie....we just don't get to know any of them well enough. (I would be interested to see sometime if this works better as a play—apparently it had a nice run on the stage.)

Ian Hunter is fine as the male lead but Frieda Inescort has the film's best role....as mother and wife she is alternately bemused, exasperated, challenged, and charmed. She comes closest to being a character we really care about.

I caught this gem of a comedy on a Saturday morning on TCM, and I wasn't expecting much from it. I watched it for the star, Olivia de Havilland. However, although she received top billing, her part was more of a supportive one as the eldest daughter. The plot centers on a married couple with three nearly grown children who find themselves each fielding persistent and unexpected flirtations. There are many clever, funny lines in the script. ("What about the children?" "Well, you could just divide them up between you." "But there are three, it wouldn't come out even!" ) Olivia's facial expressions in her scene with the painter show her rarely tapped comedic talent. I'm not sure why other reviewers gave this film such low marks; I've watched dozens of films from the era (often with bigger stars) that weren't nearly as funny. Another plus for this film is that it doesn't, like so many other Hayes Code era films, pretend that adultery either doesn't exist or that no one ever actually goes through with it. The two lead actors are witty and believable and the ending is surprisingly touching.

A YOUNG olivia dehavilland is Catherine Hilton, in a wacky family, with wacky maids and cooks. a few subplots raging in this story that started as a stage play. Catherine is falling for her (married) artist friend Paul. The amazing Alice Brady and Roland Young are brother and sister, along for laughs. SHE won an oscar; he was nominated. if you haven't seen them in other things, you really should; they are both hilarious. Muriel (Brady) has picked out a wife for brother Frank.. .but he isn't convinced he wants a wife. Dad Hilton is being pursued by a client, an actress! . Spring has sprung. even Mom Hilton accidentally gets mixed up in a love triangle. mistaken identities! mixups! Keep an eye out for Una Oconnor, the short, tiny housekeeper. she speaks her mind, and was always prim and proper. Director Archie Mayo made this right after Petrified Forest. sadly, Alice Brady would die quite young just two years after making this film. this film is fun... snappy. has a lot in common with Merrily we Live, but that is MGM.

Although given top billing for the first time in her career, it is not Olivia de Havilland who carries this low-key comedy of spring fever running rampant in an upperclass British family. Ian Hunter and Frieda Inescourt have the main burden--as well as Roland Young who makes amorous advances toward Frieda and Bonita Granville giving another of her irritating brat performances. Olivia makes scant few appearances as a lovesick girl batting her eyes at artist Walter Woolf King. Her role is so small it is a wonder the studio bothered to give her top billing. Likewise, Anita Louise is reduced to a small role as the attractive girl next door. Hunter and Inescourt do well in their parts but this minor comedy from a stage play is a trifle easily forgotten. Incidentally, Olivia's sister Joan Fontaine played a role in a Los Angeles stage version of the film. May have been the same one Olivia plays, but I'm not sure.