Une journée de printemps

Author Dodie Smith probably far better known for her novel 101 Dalmatians was the author of the play Call It A Day which ran on Broadway in 1936 for 194 performances. Before that it had done well in London. Hollywood's British colony with some American leavening was drafted into casting this rather slight comedy which gave Olivia DeHavilland her first role top billed.

I took note of the fact that it was Cosmopolitan Productions that made this film at Warner Brothers studio. This of course was the company headed by William Randolph Hearst and I'd bet that he bought this one for Marion Davies. He always saw her years younger and as the virtuous heroine. Olivia was 21 when she made this film and Marion was 41. Funny thing is she might well have been cast in Frieda Inescourt's role as Olivia's mother, but W.R. would never have let her appear in film in a mother's role.

Olivia is the oldest of three Hilton children the others being Peter Willes and Bonita Granville. On the first day of spring the entire family get themselves into some innocent spring flings with various people except Granville who's just in love with love and acts as kibitzer to her siblings. Ian Hunter is an accountant who gets more than he bargained for when he tries to work on the taxes of actress Marcia Ralston while Inescourt gets the mojo going for neighbor Roland Young. Olivia develops a crush on artist Walter Woolf King though for the life of me I can't see why, but his wife Peggy King is bothered. Willes starts paying attention to neighbor Anita Louise.

The film is done in the cross cutting style originated by Intolerance though the stories involve the actions of one family.

Call It A Day was an amusing bit of fluff in its time, but it's aged rather badly. It didn't do Olivia DeHavilland's career any harm and I'm sure she was grateful for the time away from being the heroine in crinoline just waiting supper for the hero which was usually Errol Flynn at this point in her career. Still no one will ever consider this one being in her top 10 performances.

It is the first day of spring. "The first Spring day is in the Devil's pay." This is one day in the life of the Hiltons. The eldest daughter Catherine 'Cath' Hilton (Olivia de Havilland) is overly dramatic and falls for the married artist painting her portrait. Roger Hilton (Ian Hunter) is doing the taxes of famous actress Beatrice Gwynn. Other members of the family all deal with their own complications.

I do have issues with the parents' stories. I have issues with all of their stories. I guess that the Devil's pay means exactly that. I don't necessarily find any of it that funny. Maybe if you're prim and proper, it's fun to walk the other side of the road for a little while. That must be the source of the comedy here, but I get no laughs from that.

It's a happy family, what with Ian Hunter as the father, Frieda Inescourt the mother, and three childre: Olivia de Haviland, Bonita Granville, and Peter Willes are the children. They live a well-to-do life and like each other. But it's spring, and it's not just young men that fancies come to.

It'sa well-produced movie version of Dodie Smith's play that we have here, under the direction of Archie Mayo. It's well stocked with capable players, like Anita Louise, Alice Brady, Roland Young, and Walter Woolf King, and of course, Asta is someone's dog here. Hunter and Miss Inescourt are right in the middle of their sweet spots for their roles, and as various people show up to tempt these people from their unconsidered and often staid lives, we can see the temptations. But those temptations never seem to be a real threat. Everyone is too polite for such a consideration. Who would give up Hunter for Young? Who would give such a mild King the time of day? That, alas, stays this from being more than a very good version of the play.

The Hilton family awakens to a lovely, warm and sunny first day of spring and soon each are enmeshed in affairs of the heart. It's a thoroughly underrated situation comedy with a few twists. Roland Young steals the movie with his persistent wooing of Frieda Inescourt, but then again he has the best lines. Walter Woolf King is also excellent trying to repel the clinging Olivia de Havilland every time his wife leaves the studio. It's all verbal humor and it's a feel-good movie well worth seeing.

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.