Il faut que tu m'épouses

Thanks to the magic of film we know Clara Bow will always be better than anyone else. I enjoyed this more than I thought I would with Ms Bow doing what she does best in this charming comedy. She has perfect timing and great comic ability. She is as anyone who knows of her the only person you are interested in for the whole film. That said I think Charles (Buddy) Rogers played his part so naturally that he was maybe the perfect co-star for Clara. I must make special mention of Harvey Clark who plays the Marquis De Valens. His character is such a nice surprise in the story and gets some comic turns of his own . Harvey is just as equally spot on in his role and a lot of fun to watch. I think three of the reels in this six reel film have been lost but here is still a good hour of the story to see. As has been pointed out in other reviews there is some nitrate damage in some of the frames. This is a bit distressing to see but then there are some scenes that look practically fresh in comparison with performances that are so good they may as well have been shot yesterday and the over all effect is quite "trippy". It is for me anyway. Add this film to your list and let Clara Bow distract you and put some joy in your heart.

This movie is basically a trite variation on the "Ruritania" romances that were still popular at the time, and unfortunately so, because the wonderfully modern and very American Clara Bow was bound to seem out of place amidst aristocrats of the Old Country. "Get Your Man" is set there to provide the plot with its necessary mechanism: Arranged marriage between nobles, an outdated concept even then that provides the necessary conflict here, as Clara learns she must liberate her newfound French love from pre-arranged imminent nuptials. Neither he or his intended really want to go through with it, but they both feel obligated to follow their titled parents' wishes to unite the family trees.

Clara is pretty unlikely as a wealthy American socialite "touring the Continent," but then the equally all- American Charles "Buddy" Rogers is no more credible as a French baronet or whatever he's supposed to be. There's nothing wrong with making such leaps in a movie as frivolously escapist as this one. But the problem is that the "refined" setting means Clara has to be relatively restrained, getting few opportunities for the kind of ebullience that is her trademark. Late in the movie there's a bit quite obviously shoehorned in to provide at least one opportunity for her natural physicality, when she wildly throws things about her guest bedroom in order to fake some sort of amorous abandon that others will hear (thus creating a scandal that will free Rogers from his wedding). And indeed it's the highlight here.

Otherwise, this is a pleasant enough but forgettable vehicle cranked out on the Paramount assembly at a time when Bow was making one movie after another--six in this year alone. Significant chunks of it are presumed permanently lost, and those gaps are filled in by a combination of titles and production stills.

Unfortunately, that includes most of what was obviously intended as the standout novelty sequence, in which the two leads find they're been locked overnight in a creepy Madame Tussaud's-style wax museum. Seeing Clara assume the same comical "I'm scared!" expression in multiple, very posed-looking publicity stills does not, alas, give much sense of how the gags would have played out in the complete original sequence. But hey, we'll take what we can get with what survives of her movies.

Clara Bow is the only reason for watching this picture: She is as vivacious, charming and funny as anyone could be on silent film. In all other respects, the thing does not really work. The plot is incredibly contrived: An arranged marriage between French aristocrats (didn't they have that revolution some time ago?) provides the background; Clara agrees to marry the father of the bride on condition that he releases his daughter from the engagement - her aim being to free up the bridegroom whom she wants to marry herself... It is all rather silly. What's more, Clara's character would not come across as particulary likeable if she was not Clara, whom it is impossible to dislike. The plot is so poorly constructed that you hardly notice that two out of six reels of the film are lost. Says it all, really.

Can Clara Bow do anything wrong? This perfect French farce, beautifully directed by Dorothy Arzner, sees Clara as an American in Paris. She falls madly in love with the utterly gorgeous Charles 'Buddy' Rogers (and who wouldn't?). Trouble is he's a nobleman betrothed since childhood to another woman. So Clara devises an elaborate plan to "get her man". Clara is just delicious, playing with comic perfection, and very sexy to boot. The scenes when she seduces the old Marquise, played brilliantly by Harvey Clark, are hilarious, and the final stage of her plan is so outrageous you'll hardly believe the film-makers got away with it. How sad that there is some bad nitrate decomposition and some missing footage on the one surviving print. But even this can't stop that Bow glow! 10 out of 10!

Get Your Man is a great silent starring Buddy Rogers. This was his second co-starring with Clara Bow, the first being 1927's Wings. Set in France, the tale starts with a young Buddy at a betrothal ceremony to a young French girl. Then, when they've grown up and are getting ready for the big day, Clara the American girl shows up. After falling in love with Buddy, Clara starts an elaborate plan to 'get her man'. Overall, it is a light, cute comedy.