JohnHowardReid Annabella (Ranie Racine), David Niven (Paul de Brack), Paul Lukas (Philip de Beaufort), Romney Brent (Jimmy Raine), Francis L. Sullivan (Brogard), Stewart Rome (Racine), Frederick Leister (Tarade), William Dewhurst (Devine), Tyrrell Davis (Duval), Vivienne Chatterton (Marthe), Ronald Shiner (Sydney), Nora Swinburne (Lady Railton), Raymond Huntley (Gibout), Ralph Truman (auctioneer), Billy Shine (waiter), O. B. Clarence (messenger), Frederick Culley, Patricia Medina.Director: HAROLD D. SCHUSTER. Screenplay: Roland Pertwee, Romney Brent. Scenario and dialogue: Roland Pertwee. Photography: Philip Tannura. Supervising film editor: James B. Clark. Art director: Frank Wells. Costumes: René Hubert. Camera operator: Wilkie Cooper. Special effects: Ned Mann. Music and songs: Lee Sims. Music director: Muir Mathieson. Production manager: Leslie F. Baker. Assistant director: Frederick James. Sound recording: A. W. Watkins, J. C. Cook. Western Electric Sound System. Producer: Robert T. Kane. Copyright 26 November 1937 by 20th Century-Fox Film Corp. New York opening at the Roxy: 3 December 1937. U.S. release: 26 November 1937. Australian release: 2 June 1938. 8 reels. 77 minutes. SYNOPSIS: In the middle of a party at his house Racine, a Parisian banker, is shot dead. He had been concerned about a conspiracy that could ruin his bank. He had revealed that he had posted a letter containing the names of six men, known only to himself, whom he thinks may be the guilty ones. The letter never arrives.COMMENT: Annabella is the star. The camera focuses on her. She even does two atrocious impersonations: a Spanish countess and an Indian princess. Niven and Lukas are much as usual. It is left to Francis L. Sullivan and Tyrrell Davis (particularly the former) to really steal the acting limelight. Ronald Shiner has a small part as a sneak- thief porter.Production values are okay, though there is evidence of skimping. Direction remains steadfastly dull throughout, a surfeit of dialogue over-weighs the script, predictability and incredulity dog the plot. The climax, alas, is disappointingly short on action, the villain being disposed of by a single shot. (Incidentally, there is no mystery as to his identity. We, the audience, know who he is all the time). In short, a naive script designed primarily to show off the beauty and talents of the lovely Annabella. And why not?

agamemnon3 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.

rsoonsa 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.

clark-9 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.