Fantômes en croisière

"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.

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 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

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).

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.