a5c7b9f00b Tim Whelan, the tough managing editor of a big-city newspaper, is trying to prevent his star-sob-sister columnist and sometimes real reporter, Connie Taylkor, from marrying a reporter, Jerry Martin, who works for a rival newspaper. In carrying out his anti-matrimonial scheme, Whelan stages a fake-murder and diverts most of his staff from working on who-murdered-Andrews assignments to blocking a reconciliation between Connie and Jerry. Since Connie can survive getting shot and can solve a double-murder while wounded, it is apparent why Whelan doesn&#39;t want to lose heran employee. A screwball comedy in the vein of <a href=">His Girl Friday (1940). Jerry and Connie are ace reporters for rival newspapers. They are engaged to be married, but their employers try every trick in the book to keep them apart. With the nuptials apparently thwarted, Jerry and Connie are sent by their respective newspapers to cover the Andrews murder case in Bridgeport. Will the couple reconcile or will professional competition drive them farther apart? … and they cut the scenes with Lucille Ball ?? what were they thinking ? Lucy would make &quot;Stage Door&quot; in 1937 also, still a newbie at this point. Newspaper reporters Connie (Ann Sothern) and Jerry (Gene Raymond) are getting married, or have been trying to get hitched for some time now, and Connie&#39;s editor (Richard Lane) will stop at nothing to keep her from getting married. Connie follows Jerry out of town on a murder story, and tries to catch him in her web. Attentive viewers will recognize Connie&#39;s fellow reporter &quot;Tate&quot; – It&#39;s Frank Jenks, who usually played the thug in crime dramas, and would have supporting roles in four films with G. Raymond. Joan Woodbury plays &quot;Margot&quot;, an interloper and dancer who catches Jerry&#39;s eye. Will Connie &amp; Jerry ever hook up? Some funny telephone gags. Plot very similar to &quot;His Girl Friday&quot;, which was made three years Later… although different writers are credited. This &quot;B&quot; screwball comedy from RKO seems to take itself way too seriously, believing that gags can only be funnier if you expand them. It also seems to be two different movies, starting offbattle of the sexes between lovers (and rival reporters) Ann Sothern and Gene Raymond and moving into a murder mystery where the culprits are pretty obvious once they are introduced into the movie half way through. The opening is pretty promising, with Raymond a screwy reporter who invites a panhandler out for drinks with Sothern then makes the poor man he is a part of some death trap. Of course, it&#39;s a bit of a running gag, so when the poor tramp keeps showing up, the laughs return, but it&#39;s just another indication that the writers found their script too amusing without regards for subtly or tact.<br/><br/>Sothern is a total wildcat, tearing into her boss for plotting to keep her from marrying Raymond,wellthe four dumb lugs sent to basically kidnap her. When they find her in the shower, they send in a woman instead, and this poor unseen character ends up in the hospital, while a scratching and biting Sothern lets her rampage continue on the truly idiotic stooges of her boss (Gordon Oliver). Sothern then instantly changes her tune for a soft spoken worker at the newspaper whom she basically kills with kindness after he gives her news on Raymond&#39;s whereabouts. As fastthis plot seems to wrap up, both Raymond and Sothern are thrown into a murder which comes out of nowhere, and a certain character actor (always casta villain) is obviously the top suspect from the start. This leads to an unsurprising finale and the ultimate conclusion that while recycling sets from Astaire/Rogers films, what the producers and creators forgot was to get a story that really worked.
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