Dîner au Ritz

This smoothly paced English made work has many advantages going: capable direction that includes thoroughgoing competence with editing processes, a talented internationally flavoured cast, striking settings, of which many are in Paris and along the French Riviera, a comedic yet accessible screenplay, and top-flight design of costumes and interiors for each scene. Beautiful Annabella has top billing as Ranie Racine whose financier father, despite his ostensible suicide, has to her mind been murdered, and in an attempt to determine the actual cause of her sire's death, Ranie links up with Paul de Brack, a British government agent seeking identical information (David Niven with his initial starring part in a major feature), the two formulating various undercover ploys during which they come upon a large banking scandal while, naturally, facing the pleasant bother of falling in love. Elegance is the keynote of the film, with the gowns and other costuming of René Hubert being specially effective in its fostering, while a Monte Carlo casino, a luxurious Mediterranean yacht belonging to a probable principal in the mentioned scandal, in addition to concordant venues, are harmoniously complemented by the breezy dialogue penned by Roland Pertwee with additions from Romney Brent who also plays as a journalist following along the same trail as are Ranie and Paul. From the cast come numerous fine performances, Annabella earning acting honours for her vivid turn as an amateur detective, and there are telling contributions from Francis L. Sullivan and Tyrell Davis, representatives of the Forces of Evil, Shakespearian player William Dewhurst as an enigmatic jeweller who aids Ranie with adornment for her disguises, radiant Nora Swinburne, who not surprisingly steals her two brief scenes and, ever at ease among the elite, Niven may not be overlooked in this pleasant cinematic soufflé.

Stewart Rome's bank has gone bust, and Rome has been trying to track down the swindlers who conned him. Then he seems to have committed suicide, leaving his daughter, Annabella, to penniless as the auction of his effects and belongings will go to his depositors. Meanwhile, Romney Brent is trying to get the name of the six men who did the swindle. It's in a letter from Rome, but the bad guys, led by Paul Lucas and Francis L. Sullivan are trying to get their hands on it before the authorities, in the person of David Niven do. When Annabella is in Monte Carlo, deliberately losing at baccarat to enable a jeweler to get top dollar for his wares, they all meet.

It's a preposterous series of events, carried on the charms of Annabella, and she does a very good job of it, both in her native guise, and imitating a Spanish noblewoman. Brent worked with Roland Pertwee on the screenplay, and director Harold Schuster seems to have been trying for a screwball comedy. The result is erratic, but always watchable. With Frederick Leister, Bill Shine, Nora Swinburne, and an uncredited role for Patricia Medina in her first screen appearance.

Dinner at the Ritz was done while David Niven was making his first visit back to the old country. Sam Goldwyn who made as much money with Niven by selling his services to major studios as using Niven himself, lent him out to 20th Century Fox for this European production.

The chief recommendation for Dinner at the Ritz is the location shooting in Paris, Monte Carlo, and London. It was good for American audiences to see the real deal as opposed to studio set recreations. It wasn't bad for our audiences to see the beautiful Annabella who would be marrying Niven pal Tyrone Power shortly.

Annabella is the daughter of a banker who allegedly commits suicide after telling her he was going to confront one of a group of six men who pulled off a swindle on his bank. Of course Annabella doesn't believe it, neither does detective David Niven who's after these guys for other crimes.

Since we already know who the murderer is, there's no real suspense in Dinner at the Ritz. It's whether she can catch them and prove it and will she realize Niven ain't one of the gang.

I will say this, the gimmick used to get her father's money back is pulled off with quite a bit of style.

Look for some good performances by Francis L. Sullivan and Paul Lukas as two of the gang of six. But the film really could have used some Hitchcock touches.

Entertaining mystery for 30s film fans with decent dialogue and a plot that moves along smartly. Although predictable, the plot elements seem logical. David Niven is his usual charming self, and handles his confused love interest with a believable flair. One `groaner' moment near the end when the bad guy doesn't do you-know-what.

The plot reveals itself early, there isn't any suspense to speak of and most of the jokes are weak. However! There are some bright spots:

If you remain interested after the first 45 minutes, you will find more jokes to be entertained by, although some of these moments are merely incidental. Shooting on-location in Europe provides a welcome change of pace. The dialog, which is smoothly and stylishly delivered by a "classic" cast of capable actors, adds to the film's overall camp value. The cast provides some worthwhile moments, but you must be patient. I also enjoyed the costumes but if I am going to watch a movie from this era solely for costumes and dialog, this wouldn't be my first pick. If you like film from this era (I do) and already are familiar with the cast (I am), then I might recommend it. If you are not familiar with the period and the actors, I recommend finding something else to watch. The film isn't immensely popular so if you've come this far then you probably know what you're getting into.