Early starring vehicle for Lucille Ball is awkwardly directed by Glenn Tryon, but holds a lot of interest not only as career signpost for Lucy, but also for its unusual feminist business slant. An original story by Grace Norton & Adele Buffington, fleshed out by scripters Paul Jarrico & Doris Anderson, it mixes cosmetics & romance with Ball dumped by fiancé/business partner Patric Knowles just before she perfects the beauty cream they planned to market. Sinfully handsome, but weak-willed, the guy loves her, but can’t refuse the easy, clingy charms of millionairess Frieda Inescort. Undaunted, Ball goes out on her own, cornering top ad man Donald Woods, quickly smitten and joining her to find a silent start-up investor . . . Frieda Inescort! Well, it’s that kind of story, and not poorly run, without too many ginned up farcical elements. (At just over an hour, mix-ups are straightened out on the spot.) That leaves Ball to run the company, pine for Knowles, turn down Woods’ regular proposals, and even trying to rebuild the failing Knowles/Inescort marriage. (Knowles really shines at playing a shit; Inescort’s flutey diction is a bit much; Woods quietly charming.) All while R.K.O. tried to figure out how best to use this strange 'near' star with everything at her fingertips: beauty, audience rapport, physical gagging, singing, a natural for straight, comic or character drama . . . the works. Paramount, M-G-M & Columbia would face the same problem. In retrospect, the wide ranging roles make the Pre-I LOVE LUCY days exceptionally interesting whether the films were good, bad or indifferent. This one’s indifferent, though better on reflection.
DOUBLE-BILL: Best of Lucy’s R.K.O. period came in DANCE, GIRL, DANCE/’40 where her burlesque turn completely upstages nominal leads Maureen O’Hara & Louis Hayward, and saves the film for iconic feminist director Dorothy Arzner.
SCREWY THOUGHT OF THE DAY: Years later, in I LOVE LUCY days, she & Desi Arnaz’s DESILU company would buy up the R.K.O. lot.
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