input: RKO had a reputation for making folksy, homespun pieces of Americana.

Anne Shirley (as Dawn O'Day) had been in films since she was a toddler. By 1933 she was in limbo - having played Ann Dvorak as a child in "Three on a Match" (1932) and a "flower girl" in both "This Side of Heaven" and "The Key" both in 1934. George Nicholls Jnr remembered Anne's work from a previous film and that's how she got this part. She also adopted Anne Shirley as her stage name. The memorable stories are there - Lady of Shallot in a leaky boat, the "stolen" brooch, the "red hair" incident. Anne was so right for the role of the chatty, heartwarming orphan. She was heartbreaking in her intensity, her eagerness to please and also her fiery temper. O.P. Heggie was wonderful as the understanding Matthew Cuthbert and Helen Westley was fine as the firm Marilla. Tom Brown was an excellent Gilbert Blythe. Gertrude Messinger, who had also been in films as a small child was fine as Diana Barry. Sara Haden proved she could play someone other than Aunt Millie in the Andy Hardy series, was Mrs. Barry.

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pos/neg ans: positive

input: Merry madcaps in London stage a treasure hunt, with one young woman inadvertently fixing up her married politician father with a strong, independent lady-flier who's never been in love. Intriguing early vehicle for Katharine Hepburn, playing an Amelia Earhart-like aviatrix who's been too self-involved to give herself over to any man. The director (Dorothy Arzner) and the screenwriter (Zoe Akins, who adapted Gilbert Frankau's book) were obviously assigned to this project to get the female point of view, but why are all the old cliches kept intact like frozen artifacts? Billie Burke plays the type of simpering, weepy wife who takes to her bed when thing go wrong, and Hepburn's final scene is another bummer. A curious artifact, but not a classic for Kate-watchers. ** from ****

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pos/neg ans: negative

input: There is a certain genius behind this movie. I was laughing throughout. The scene in the phone sex office, discussing how love heals the doppelganger was a nice attempt at this genius/humor. Execution is poor, but you can see the writer's message and they do have some talent. The doppelganger split at the end was like... "ok, wasn't quite expecting that but let's see what the movie has to say". Certainly ridiculous, but a sweet idea and actually very coherent to the story in a strange way.

Is the point of a movie to be logical or is it to be entertaining or communicate on an emotional level? i'm easily bored by many movies, but this one kept my interest throughout.

I think the story may have some auto-biographical roots, but that's just a guess. Horribly bad, but good. I'm looking for other movies this person may have done (with more experience).

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pos/neg ans: positive

input: One can only imagine the film Mr. Welles might have finished without the interference of the studio! This film is a flawed Welles, but worth every minute of it because one can see the greatness of perhaps America's best motion picture director of all times!

We can see the toll it took on Orson Welles the filming of this movie. The story has a lot of holes in it, perhaps because of the demands of the studio executives that didn't trust the director.

It is curious by reading some of the opinions submitted to IMDB that compare Orson Welles with the Coen brothers, Roman Polanski, even Woody Allen, when it should be all of those directors that must be regarded as followers of the great master himself. No one was more original and creative in the history of American cinema than Mr. Welles. Lucky are we to still have his legacy either in retrospective looks such as the one the Film Forum in New York just ended, or his films either on tape or DVD form.

Rita Hayworth was never more lovingly photographed than here. If she was a beauty with her red hair, as a blonde, she is just too stunning for words. Everett Sloan and Glenn Anders made an excellent contribution to the movie.

The only thing that might have made this film another masterpiece to be added to Orson Welles body of work, was his own appearance in it. Had he concentrated in the directing and had another actor interpret Michael O'Hara, a different film might have been achieved altogether. Orson Welles has to be credited for being perhaps a pioneer in taking the camera away from the studio lot into the street. The visuals in this film are so amazing that we leave the theater after seeing this movie truly impressed for the work, the vision and the talent he gave us.

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pos/neg ans:
positive