Hold That Kiss

The worst thing about this charming, well acted comedy is its generic title. Hold what kiss?

The leads are at their romantic best. The supporting players are delightful.

I personally would have preferred it sans the Mickey Rooney character but he doubtless helped its box office (if it had any.)

A few stereotypes are engaged in, too; but otherwise, it is a charming concoction. It's funny: O'Sullivan's boss Monsieur Maurice is written very broadly but the penultimate scene in which a tricked O'Keefe tricks her by making her pose in one gown after another after another -- they now know each other to be in retail and not in society -- is very funny.

During the Great Depression, audiences liked to see the differences between rich and poor people played for laughs. This frothy romance from 1938 is in that vein. If you like mix-ups, silly situations and innocent fun in the classic Hollywood spirit, this should appeal to you.

Maureen O'Sullivan and Dennis O'Keefe play working-class folks in the big city who happen to meet under confusing circumstances. They quickly fall in love, but each gets the mistaken impression that the other is rich.

As the romance heats up, the two try harder and harder to impress each other with bogus details of their "privileged" lives. But each feels ashamed of being a phony, and each dreads the day when the truth comes out.

The girl's wacky relatives (including a younger brother played by Mickey Rooney) take her wealth charade to extraordinary lengths, and their antics supply most of the comedy in the film. Some of the gags are dated, but a few are still laugh-out-loud funny.

The main problem is with the leads. While O'Sullivan was perfectly cast in this movie, O'Keefe was not. He was more suited to tough guy roles than to this kind of gentle fluff. But he deserves credit for trying hard. The same could be said for the picture itself.

The major studios which M.G.M. was the biggest, had a stable of contract players that had to be kept occupied. From the heavy-weight Stars like GABLE, LOY, POWELL, SHEARER and TRACY to character actors, all had to be kept busy. Fifty-Two (52) features a year was the standard of the 'majors' plus shorts. From 'A' efforts too 'Bs' like this one, HOLD THAT KISS (1938).

The plot of these were simple. This comedy is a typical 'Boy meets Girl', both pretending to be of the '400'. Not wishing the other to know of their rather common back-rounds. Neither wanting to admit the truth until the last reel when true love wins out over perceived social prejudices.

MAUREEN O'SULLIVAN, never a major star was a good filler for this type of film. Something to plug into between TARZANs' and pregnancies. DENNIS O'KEEFE was being groomed for a stardom he would never fulfill, but MICKEY ROONEY would go on to greater things. The rest of the cast, all professional character actors. Who knew their lines, hit their marks and got the picture done on time and under budget. This made them very popular with Louis B. Mayer and the money men back in New York City.

This charming comedy revolves around as case of mistaken identity, which is not a novel idea, but it feels fresh in the hands of Director Edwin L. Marin, who keeps things moving. And the script is cleverly written.

A strong cast pulls laughs from the story at every turn. I especially enjoyed Maureen O'Sullivan and Mickey Rooney. I wish they had a few more scenes together, highlighting their sibling quarrels.

Dennis O'Keefe plays the boyfriend to O'Sullivan, and they are a good romantic match, especially when played for laughs, as in this film.

Maureen O'Sullivan works for a caterer at a wedding. Dennis O'Keefe is a clerk from a travel agency delivering steamship tickets. They mistake each other for wealthy guests. They begin a courtship, masquerading as the cream of society.

MGM's efforts at screwball rarely sparkled, but this one shows the usual studio gloss with a cast that includes Mickey Rooney, Jessie Relph, and Eddie Brophy. Miss O'Sullivan remains too ladylike at all times. However, there are enough well-crafted lines and situations to make this one enjoyable; I suspect that Ogden Nash's uncredited contribution are among the best.