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This may be an odd suggestion, but I think this film actually benefited from the absence of Cary Grant. Now I love Cary Grant, but in the original Topper, he is conspicuous by his absence from much of the action, and it is a distraction: after all, he was supposed to be the star. Here, however, we get to focus exclusively on the wonderful Roland Young and the drop-dead gorgeous Constance Bennett.

Young is quite frankly great as the bumbling and often mumbling Cosmo Topper. He is so good at pretending to be pulled, pushed and twisted around by the invisible Mrs. Kirby that you really completely believe unseen forces are constantly roughing him up. And he so thoroughly throws himself into dancing by himself, kicking his feet around in a jig, and kicking at invisible dogs, that it is a real joy.

Have I mentioned that Constance Bennett is gorgeous? How many marriages on the set must have been broken up by her walking around in a bathing suit for a good portion of the film? Billie Burke was also much more interesting here than in the original. The writers surely delighted in giving her so many inane and nonsensical lines, which she, in her well-meaning but confusing daffiness, plays to perfection.

Finally, Franklin Panghorn has a lovely and meaty role as a manager of a French hotel; but his French accent has to be one of the worst ever. Luckily the film is filled with upset, screaming Frenchmen all always yelling at the same time.

I don't think everyone will agree with me, but I found "Topper Takes a Trip" to be at least as enjoyable as the original (except for the long introduction with its extensive borrowing from the original). Highly recommended.

This sequel to the funny Topper lacks the entire sophistication of that film yet is able to stand all by itself as a worthy successor based on the performance of Roland Young once again playing the amusing, befuddled Cosmo Topper - he who sees dead people way before it became fashionable by The Sixth Sense and on a cast of wonderful character actors doing their "bit." Topper Takes a Trip does have some major flaws; however. The film opens with Young in a courtroom going through divorce proceedings from his even more befuddled wife Billie Burke. Topper explains to the courtroom how he was befriended by the ghosts of Constance Bennet and Cary Grant(who could not join his former cast-mates because he was now too big a star but magnanimously agreed to allow them to use footage from the original - Swell Guy!). This whole beginning seems very forced as it tries to make sure that all is explained in case you missed the first film. Once they get out of the courtroom, Topper and one ghost and her ghostly dog go on a drinking binge and discover that Mrs. Topper's best friend has taken her to Paris to try and get her hooked up with a Baron there. Topper and companions follow and the laughs go from a trickle to an avalanche at times as Young does all kinds of crazy things with the aid of his spectral friend. The hotel is headed by Franklin Pangborn whose performance really is a comic treat. Pangborn made me laugh so hard with that sardonic look and witticisms. Butler Alan Mowbray follows and adds a fine turn as the Topper's butler. The rest of the cast is also suitably funny. It is important to remember just how influential these films were in this little sub-genre and that the special effects used were state-of-the-art at the time(Oscar nominated in this case. Many scenes stand out for me as truly masterful bits of comedic timing: Young dancing with a ghost on the dance floor, Alexander D'Arcy(the Baron) being bulldozed by a huge beach ball while shortless in the sand, and Young being cramped in his small room standing out particularly.

It recycles considerable footage from the first Topper film as background information. I guess that's a way of getting Cary Grant in there, even though he didn't shoot any new scenes for Topper Takes a Trip. (I bet they used his face in the advertising, too. If I had paid money to see this film, thinking Cary Grant was in it, I would have felt quite disappointed!) Constance Bennett stars as the ghost of Mrs. Kerby. She had some amusing moments, but I personally think she lacked the sparkle and sass of Joan Blondell, who starred in Topper Returns (my favorite of the three entries). The only scene at which I laughed out loud was that of the fortune-seeker on the beach, trying to woo Mrs. Topper while the ghost of Mrs. Kerby thwarts him with unseen hands at every turn. She strips his trunks off him while he's lying under the sand, then torments him with a giant beach ball that inexplicably keeps rolling over him while Mrs. Topper squeaks with alarm. So yes, that was funny, but if I had to choose one of the Topper films never to see again, it would be this one. Billie Burke, as usual, is a scene-stealer, but Alan Mowbray also made a worthy contribution here as the butler Wilkins.

"Topper Takes A Trip" is a charming, airy, lyrical fantasy comedy. No one ever made a fantasy comedy like this. The playing of all actors and the set design mix screwball comedy with fantasy elements, making an appealing, sexy, subtly witty comedy that was the best sophisticated comedy feature ever to come out of the Hal Roach Studios.

The cast is a dream. Although all three actors' characters do not appear to each other, the chemistry between Roland Young, Constance Bennett, and Billie Burke is a joy to watch. The musical score by Marvin Hatley not only complements the film beautifully, it features pieces that sound more from the 1960's than 1939. A remarkable score that deserves major recognition by film scholars, students, and buffs.

Roland Young and Billie Burke made several films together for different studios however it was in this film and in Selznick's "The Young In Heart" that showed them at their absolute best as a team. They also deserver greater critical recognition for their work.

The camerawork and set design evoke a polish and sheen common to '30's romantic comedies. A handsome look that stimulates suspending disbelief for a fantasy film. "Topper Takes A Trip" is, undeniably, the best of the three Topper films produced by Hal Roach.

"Topper Takes a Trip" is a nice follow-up to "Topper," and has the same cast but no Cary Grant as George. He's shown in the beginning as the film goes over how George and Marion got to be ghosts in the first place. Alas, Grant's ghostly presence hangs over the entire film and puts a big hole in this movie.

Constance Bennett is her usual gorgeous self as Marion. She is compelled to come back without George and soon realizes that she's there to help Cosmo once again - though the Kerby's idea of helping Topper leaves much to be desired. This time, though, she discovers a dog, Atlas, in spirit also and brings him along. Mrs. Topper (Billie Burke) learning that Cosmo was with a woman in a hotel has sued for divorce. At the trial, Cosmo claims the woman was the late Marion and begs to tell his story.

The judge understandably gets too confused and throws the case out. Mrs. T sails for France and Cosmo, Marion, and Atlas follow. One of the best scenes takes place in a casino where Cosmo just can't help winning, thanks the ball landing on one number and then mysteriously jumping to another thanks to guess who.

Very cute, with another fine performance by Roland Young as Cosmo. The special effects are still marvelous

This is essentially a continuation of TOPPER. It does need to be watched as a part two of the original film otherwise it won't make sense.

The humour's the same, the feel is the same and actually the jokes are the same. That carbon copy formula worked with AIRPLANE and AIRPLANE II and it works with this too. If you enjoyed TOPPER you'll definitely enjoy this.

There's one obvious difference: no Carey Grant . Constance Bennett therefore has to carry this alone and she accomplishes that seemingly without any effort. You don't miss Mr Grant at all but maybe that's because since this is so much of a continuation, you still think he's been in this anyway, just not in the last few scenes.

It's a silly story with silly characters but being so professionally made and expertly directed and acted, when you're watching this, somehow it feels sort of believable or at least it lowers your credibility filter down to level zero.

We find Mrs. Topper (Billie Burke) is going to get a divorce due to catching her hubby with a woman that is not a woman, Marion Kerby (Constance Bennett.) or at least she is being pushed into thinking she wants a divorce by a so-called friend of whom has a nefarious purpose of her own. Toppy must go after his wife and woo her back.

The storyline is weak and the acting trite. There is a defiant lack of comedy or even credulity. There are countless counts and an unbelievable scheme. Oh yes, Cary grant is replaced by Skippy.

On the plus side, Cosmo Topper (Roland Young) does a great job of being pushed around by the invisible. And Alan Mowbray the bad guy in "Charlie Chan in London" made a believable butler. "Now you are holding the door open for me."

This film starts in court, with the divorce proceedings between Cosmo Topper and his wife. A flashback explains how the events of the original film, A Dupla do Outro Mundo (1937), supposedly caused this. However, the real reason (which does not get sufficiently clear until much later) is that Mrs. Topper's lawyer is trying to manipulate her into marrying a French fortune hunter. It appears that the events of the previous film just gave the crooked lawyer an opening that she could exploit.

The original film was based on a novel by Thorne Smith, and this sequel is based on the novel's sequel. The fun-loving dead Kerby couple who previously rescued Mr. Topper from boredom somehow get reactivated from heaven as ghosts to correct the unfortunate side-effect of their good deed. Except that George Kerby (Cary Grant) didn't like the film's script, or wanted more money than was available, or just had something better to do with his time, and so wasn't available. So unlike in the novel, in the film Marion Kerby (Constance Bennett) returns alone. Which comes across as odd because unlike in the novel, the film doesn't portray an actual romance between Marion Kerby and Cosmo Topper, choosing to depict the Kerby marriage as totally harmonious.

For added variety in the invisibility-based slapstick scenes, Marion finds herself a cute dog ghost as a sidekick. Unfortunately, the dog is never really used properly. Like the original film, this sequel could no doubt have profited a lot from breaking the prejudice of the early sound film era and hiring a slapstick expert rooted in the silent film era as an adviser. But they clearly didn't, and so the physical comedy, which should have been the strongest point, again comes across as having the handbrake on. Of course this was true already in the original film.

The original film somehow managed to be above average through a consistently high quality of script and acting. This and Cary Grant seem to be the second most important things missing in this sequel.

At least this is a proper sequel, unlike the second sequel, A Volta do Fantasma (1941), which just uses the Toppers for an unrelated though similar ghost story script set in a horror house.

Cosmo TOPPER TAKES A TRIP--with ghostly Marion Kerby and dead dog Atlas--to the French Riviera in hopes of winning back the estranged Mrs. Topper.

Hal Roach Studios presents more of the adventures of Topper in this follow-up to their previous comedy success. Many of the comic situations are highly reminiscent of the first film, but they are still funny and enough new material has been added to engage and hold the viewer's attention.

Roland Young & Billie Burke return as the Toppers and they are still a delight--Mr. Young owlish & serious in the silliest of situations and Miss Burke forever sweetly vague and befuddled. Gorgeous Constance Bennett, as ghostess Marion, remains free-spirited in her (unwelcome) attempts to help Cosmo out of his latest pickle. Somber Alan Mowbray is also back--and in top form--as the Toppers' devout butler.

Some new costars are on hand to help liven things up: Verree Teasdale plays Mrs. Topper's catty friend; Franklin Pangborn is the oleaginous manager of the Hotel St. Pierre; and suave Alexander D'Arcy provides some laughs as a gigolo baron intent on acquiring Miss Burke's money.

Movie mavens will recognize George Davis as a temperamental porter and Paul Porcasi as a suspicious casino manager, both uncredited. Atlas is played by that remarkable canine thespian, Asta. Cary Grant appears only in footage lifted from the first film.

A couple of scenes in particular are worth waiting for--the first when Topper, with invisible ghostly help, breaks the bank at the French casino's roulette wheel; the second comes when D'Arcy is subjected to humiliating indignities on the beach, courtesy of Miss Bennett and Asta.

This was the second of a 3-film series, coming after TOPPER (1937) and followed by TOPPER RETURNS (1941).

After creating enough mayhem in the life of Cosmo Topper in the first Topper film, Marian Kerby comes back from the afterlife to do a little more damage than before. She means well of course and by chance things do work out in the end.

Roland Young as Topper, Constance Bennett as Marian, and Billie Burke as the ditzy but patient Mrs. Topper are back again. Cary Grant as George Kerby is here too, but only in a flashback from the original Topper movie. The flashback occurs when Topper is on the witness stand in a divorce case as Billie Burke is filing for divorce. Topper takes the stand and tries to explain that wasn't a real woman in his room, just an other world spirit.

Judge Spencer Charters won't grant a divorce, but come back the next day he might sign some commitment papers. So Billie Burke and her friend Verree Teasdale are off to France. Now it becomes clear what Marian Kerby is back on terra firma for.

Connie and Roland are off to France where they have to deal with fussy hotel managers and pretentious gigolos like Franklin Pangborn and Alexander D'Arcy.

Best scenes in the film, in the casino with Paul Porcasi as the manager and in the bar with Paul Hurst as bartender.

It's not as good as the original Topper film, but still has a lot of laughs left in the old spirit.

This is not as good as the first movie, simply called "Topper," mainly because of the absence of Cary Grant. He helped make the first movie a big success, and without him this movie simply wasn't as good. Grant granted permission to re-run of scene of his from the first film to help set up viewers who hadn't seen the original.

Roland Young as "Topper" keeps this film alive and makes it an acceptable sequel. He is very funny at times and without him, the film would have bombed big-time. Young provides most of the entertainment. Constance Bennett is still the slinky, attractive and well-meaning "Marion Kirby" while Billie Burke, as Topper's wife, is stupid, extremely affected and annoying.

I saw a colorized VHS version of this and it was weak. I'm sure the black-and-white DVD version looks better.

Not as good as the original, but still fun. Considering Cary Grant's limited (to scenes from the original) presence, they did a good job of pulling off the sequel.

The review omitted a continuity goof. When Topper came around the same curve as the Kirbys and duplicated their bad luck with a flat tire, there was a 'let me back up and see that again' moment. Before the crash we could clearly see that the right rear tire was flat. When the car came to rest, the rear tire was fine and the right front tire was flat. But that just made watching the movie more fun. I didn't catch any other errors, but might on my next watching.

The main characters less Cary Grant reappear for a second act in the Topper saga. Because Marion Kerby materialized by Topper's side in a hotel in the first movie (gasp), Mrs. Topper wants a divorce. Ghostly Marion thwarts the New York divorce proceedings but Mrs. Topper goes to France for a quickie divorce. Topper and Marion follow but, unfortunately, hilarity does not ensue in this slow-moving, predictable farce. The jokes are tedious variations on the first films antics and don't bear reuse; there aren't any really funny moments here. But -- Constance Bennett is gorgeous as always and ever so elegantly dressed. And Roland Young's remarkable physical comedy, e.g., lurching about as if he were being pushed or pulled by the invisible Marion, is worth watching. Bottom line: if you're an old movie buff and want to flesh out the Topper series, invest a few hours when you have nothing else to do and treat it as an educational investment. Don't expect many laughs.

Topper Takes a Trip just never gets going. It's an OK comedy sequel to the 1937 smash hit but without Cary Grant. That leaves Marion (Constance Bennett) alone to hound Topper (Roland Young) but the film is missing the marital sparring that made the first one so good.

Mrs. Topper (Billie Burke) is seeking a divorce because Topper and Marion had stayed at a hotel together in the first film. Slim plot device then has the Mrs. heading to France for a quickie divorce where she falls among thieves: her "friend" and a phony baron. Topper and Marion head to France to stop the divorce and foil the setup.

Roland Young is still very good with his blank face and funny body movements (when the invisible Marion is prodding him). But there's just too much talk in this one. Bennett is as always beautiful and breezy. Burke is hilarious as the dithery Mrs. Topper in a way that no one else could copy. Alan Mowbray is back in the thankless butler role as is Spencer Charters as the judge.

Verree Teasdale plays the acid friend, Alex D'Arcy the faux baron, and Franklin Pangborn is the French hotel manager. Grant appears via flashback from the original film, but his absence is not well explained. Asta (the dog) is funny too.

Not a bad film but it could have been funnier.

I didn't think this film was nearly as good as the first one. First of all, the original had Cary Grant as Constance Bennett's sidekick. Here, he is inexplicably replaced by a dog. If I were Grant, I'd be highly insulted. I guess maybe by now, he was a mega-star and his salary demands were too high - and, boy that dog sure works for cheap!

I think the whole "let's review the 1st movie" for the first 15 minutes of the film to be a little insulting to our intelligence. Many sequels have been made without feeling it's necessary to rehash the original movie.

Most of the special effects and pranks had been done in the other movie, so it wasn't quite as jaw-dropping this go-round.

But it is still an amusing 80 minutes. Just don't expect it be quite the level of fun as the original.

I couldn't wait to see the first "Topper." I figured with the combined comedic chops of Cary Grant and Roland Young, how could it miss? So I was disappointed at how dull and not funny it was. It didn't inspire me to watch its sequels, but I had already recorded them on TCM so I decided to put "Topper Takes a Trip" on in the background while I did other things. Maybe it's because my expectations were so low, but I found quite a bit more to like about this one.

It's funny, because you'd think not having Cary Grant in the sequel would be a huge detriment, but I found myself not even missing him. Roland Young is very funny by himself, and he's all you really need. He's a very good physical comedian. Much of the humor comes from watching him be pushed and dragged here and there by the ghost of Constance Bennett, who we and the other characters in the movie can't see, and Young really does make it look like he's being manhandled by someone else. Some of the other ghost hijinks aren't so funny. Watching characters be stupefied by a door opening by itself isn't that humorous once, let alone by the fifth time you've seen the gag.

Between the first "Topper" and this one, the Academy created an Oscar category for special effects, and "Topper Takes a Trip" was nominated in it. The effects are all pretty simple and quaint by today's standards, and even at the time saw themselves going up against juggernauts like "Gone with the Wind" and "The Wizard of Oz" (though ironically it lost to neither of those movies, but rather to "The Rains Came"). But the Academy recognized a much wider range of films in categories like special effects back then than they do now.

Grade: B.

Topper was a phenomenon of popularity and longevity in North American cinema and television. Based on the novel Topper, by Thorne Smith, and its sequels, it had three original films, released in 1937, 1938 and 1941, a television series in 1953 and even a television remake in 1979.

Everything revolves around a couple of ghosts, who make life complicated but fun for everyone around them, especially Topper, a simple and modest banker, played by Roland Young, dominated by an eccentric wife, played by the magnificent Billie Burke. The ghosts are Cary Grant and Constance Bennett, as well as the dog Skippy, in the first film, just Constance Bennett and Skippy in this second film from 1938 and, finally, Joan Blondell in the third.

The idea is simple but it works, it creates fun situations, entertaining the public with a surreal world, where spirits appear and disappear, not to haunt the living, but to amuse them, with their adventures and the astonishment they cause them.

This is a film of pure entertainment, in which nothing makes much sense, but the truth is that, like the other films in the series, it works, it entertains, it uses the supernatural as a comedic element and not as something that scares and intends to be taken seriously.

A classic successful series, this triple Topper. Even with the inconsistency of the actors, the essential remains and the comedy works and generates empathy in the viewer, largely due to the duo Billie Burke and Roland Young, who are truly the glue that unites and gives grace to this trilogy.

Ahh, those screwball comedies from the 30's are still a delight, and it is hard to find anything better. The actors in this comedic tour de force are outstanding, and well cast. Roland Young and Billie Burke are pure comedy gold together. No one else could do vague, bemused, bewildered, bedevilled as well as these two. Pair them together, and you have a recipe for instant success. Constance Bennett was a gorgeous blonde in an era famous for gorgeous blondes. Unlike many of the others, she had talent, and was a delight in a comedy. I had seen the series as a child, but I didn't appreciate them until I was an adult. Roland Young's physical comedy, was a definite asset to the series, but his female co-stars, and their delivery was a sheer delight. I also enjoyed Alan Mowbray, who was the suave villain in a few of the Sherlock Holmes films, as the sympathique butler in this little gem of a movie. He was extraordinarily talented, but was woefully typecast as the heavy in many period pieces. I liked this kinder gentler side of the actor, and hope to find something similar from him again. There are no missteps in this one. If you like a nice unsophisticated bit of fluff and froth, you will love this movie. The only thing comparable to me, for entertainment value was "The Women", which came out the same year. Both of the films had me laughing out loud many times, and are films that I watch again and again. Spend some time with Topper, and you won't be sorry, but you will be holding your sides from laughter, and you will appreciate the brilliant comedic timing behind the zingers and barbs that fly in this film.

Now that I've seen "Topper Takes a Trip", I have seen the three original Topper films. They are all mildly amusing, at best, but the shtick gets a little old after a while.

In the original film, Cosmo Topper (Roland Young) is visited by two ghosts (Cary Grant and Constance Bennett). The film surprised the filmmakers, as it was a hit and folks were clamoring for more...but for some reason Cary Grant didn't agree to do the sequel. I can only assume he had better film projects and in hindsight I think he was probably wise to avoid this one. Instead, believe it or not, they replaced him with a ghost dog!! Uggh!

This installment finds Cosmo fighting to stay married as Mrs. Topper (Billie Burke) is seeking a divorce. This really makes no sense, as she loved Topper...and her suddenly listening to bad friends who want to separate them is pretty awful and far from funny. Well, apparently American divorces take too long so she heads to Paris...and Cosmo goes there to try to stop her from doing this and marrying some Baron. Whatever. The bottom line is that this film seems to scream out "there is NO reason for this film"....and I would definitely agree. Not a terrible film...but not a good one. Oddly, the third film (starring Young, Burke and Joan Blondell as the ghost) is probably the best of the three movies.

Really loved the first 'Topper' and found it a much needed sheer delight. Nearly everything worked, aside from the occasionally draggy pace but the production values, script and performance enlivened the proceedings significantly. It was succeeded by two sequels 'Topper Takes a Trip' and 'Topper Returns', hearing about them left me with mixed emotions. Either they could have been just as good and gone well with the original or they could have been completely pointless.

Both of them in my view are worth watching and while neither are as good or in the same league as the first 'Topper' they are nearly as good. The first of them 'Topper Takes a Trip' has almost everything that made the original such a delight, it may lack Cary Grant (excepting a not particularly necessary and shoehorned in flashback to the original) but Constance Bennett, Roland Young and Norman Z McLeod in the director's chair all return and have not lost what made them work so well in the first.

There are a couple of other things that stop 'Topper Takes a Trip' from being even better than it turned out to be. The beginning does go on for too long and felt very contrived.

Also found that Billie Burke overdid it in her part here and came over as irritating.

However, Bennett once again is a joy. She is very elegant and again has a lot of fun in her role while not over-egging. Young also looks like he was enjoying himself, he copes with the physical comedy with aplomb and grace and he is both amusing and likeable. The supporting cast standout is a riotous Franklin Pangborn with Verree Teasdale close behind, neither straining for laughs and looking completely natural. McLeod again does a spirited job with the directing without letting things get too manic.

Once again, the production values are great. 'Topper Takes a Trip' is beautifully shot with opulent art direction. The special effects hold up well. The music matches the whimsy of the film's tone more than fittingly and the sophistication and wit in the dialogue remains still. The story is silly but never loses its spirit and charm, it's always fun too.

In summary, lovely first sequel if not quite as good. Stick with it if put off by the start, it's worth it. 8/10

I've watched the first and third Topper films and I was willing to overlook the fact that a ghost apparently can eat, drink, and smoke cigarettes for the sake of some of the other comedy sequences. However, three movies of this is just too many. I mean Marion can't pass thru the safe door to get Topper's passport, but she can drink? Now the dog is in on it too? No. I'm sorry.

TOPPER TAKES A TRIP (United Artists, 1938), a Hal Roach Presentation, directed by Norman Z,. McLeod, marks the second of three in the series, and its first for United Artists. Reuniting its major stars (Constance Bennett, Roland Young, Billie Burke and Alan Mowbray) and production staff from the original TOPPER (1937), with the exception of Cary Grant, whose scenes are retold via flashback, TOPPER TAKES A TRIP, based on the novel by Thorne Smith, basically resumes where the original left off, with more of the same antics as before, with new locale settings during its second half.

The story opens where divorce proceedings are being held behind closed doors of a courtroom involving Cosmo Topper (Roland Young), a New York City bank president, and his wife, Clara (Billie Burke). Accompanied by Clara's close friend, Nancy Parkhurst (Veree Teasdale), it appears Mrs. Parkhurst to be the instigator to the divorce rather than Mrs. Topper. While on the witness stand, Cosmo recalls his incident at the Seabreeze Hotel where he was seen to be with Marion Kerby, but was all innocent. Cosmo also tells the court under oath that both Marion and her husband, George, are spiritual beings. In the meantime, Marion (Constance Bennett) returns to Earth without George, and can only enter the Pearly Gates after doing her good deed. Reading a newspaper clipping about Cosmo Topper being sued for divorce, Marion, accompanied by a ghost dog named Atlas (Skippy), decides to assist Cosmo once more in her good deed by saving his marriage. Because Cosmo's story on trial seems so unbelievable, the judge (Spencer Charters) dismisses the case and denies the divorce. Nancy, however, decides it best for Clara to get her divorce by taking her on the next ship over to France, where she has gotten all her previous divorces. Learning of Clara's whereabouts from his butler, Wilkins (Alan Mowbray), Cosmo, accompanied by the blithe spirits of Marion and her dog, Atlas, journey to the French Riviera, registering at the St. Pierre Hotel followed by further ghostly antics between Cosmo and Marion that not only get him in trouble with the hotel staff as it did at the Seabreeze Hotel back in the states, but finds he has to save Clara from a fortune hunter, Baron DeRossi (Alexander D'Arcy) out for her money.

The talents of a well-selected group of character actors consist of Franklin Pangborn (Louis, the Hotel Manager); Paul Hurst (Charlie, the Bartender); Paul Porcasi (The Roulette Croupier); and Irving Pichel (The Courtroom Prosecutor). Pangborn, notable for playing hotel managers in countles movies, speaks with a French accent this time around. Alan Mowbray, who has little to do here, resumes his loyal servant duties with his notable line, "Bless our happy home."

TOPPER TAKES A TRIP has its moments in spiritiual humor, with fine special effects of ghostly figures fade ins and outs compliments by Roy Seawright. Comedy highlights include Cosmo and Marion getting drunk in a bar; Cosmo winning at the gambling tables in France; and Marion placing the Baron in an embarrassing situation while covered by sand at the beach without his swimming trunks. Constance Bennett as the glamorous ghost shows her flare for comedy once again. It's a wonder how her spirit changes clothes and hairstyles in almost every other scene, indicating the Heavens above include clothing stores and hair salons for her convenience. If she's a ghost, then she wouldn't be starving for food in the restaurants. Unlike her Mrs. Topper from the previous movie, Billie Burke's character becomes more scatterbrained speaking in higher pitches. Overlooking some pros and cons, TOPPER TAKES A TRIP, being more of a rehash from TOPPER than an original premise, is an agreeable comedy.

Clocked at 80 minutes, with some indications the movie might have been longer prior to its editing process, TOPPER TAKES A TRIP is the lesser known of its trilogy due to fewer television showings as opposed to the more frequently revived TOPPER and TOPPER RETURNS (1941). Formerly available on video cassette and later DVD, TOPPER TAKES A TRIP had cable television broadcasts over the years, including the Disney Channel (1986), Nickelodeon's Nik-at-Night Movie (1988) and Turner Classic Movies since 2006. (***)

The gimmick in this is a standard one: three worlds. The world of the ordinary people in the story. The world of the viewer. The world of spirits that directly manipulates and "stages" the folks in the film world, represented here by a beautiful blond in lux gowns. She's in between the other two.

I'm interested in this because the 30's was a period of great experimentation in narrative, resulting in a few great results. One of these was noir, the unique invention of American film that has been profoundly interesting in movies, religion, dreams (which is much the same) and life. Noir is the notion of the viewer perturbing fate and influencing the characters' world, sometimes denoted by cinematic effects.

See what we have here, a sort of predecessor. The previous "Topper" was quite strange, more of an exploration of sex than anything and one of the many post-code attempts at hinting sex and the importance of influential sex without showing it. This is altogether different though most of the jokes are the same, plus invisible dog jokes.

Here, the ghost manipulates events, stages confrontations, shapes the story. A well shaped story is her "good deed: to be rewarded by God. See the connection? If you are interested in film, you must be of how noir changed the landscape. And then you will be noodling around in the thirties to see how it evolved (no intelligent design here). And you'll come to this.

Ted's Evaluation -- 3 of 3: Worth watching.