A married architect, stuck in a loveless marriage, due to his daughter, has an an affair with a dress designer (Natalie). Just when he's ready to ask his wife for a divorce, his daughter falls in love with Natalie's brother.
Small town America: the Cohens own a movie theater; the Kellys own a diner. Kitty Kelly and Maurice Cohen are young lovers; Maurice sends Kitty's picture to a movie studio, and they accept her and make her a star. Soon, the Kelly family is living the high life; they write a postcard to the Cohens, who take a polite "wish you were here" as an invitation to sell everything. The Kellys shun the Cohens, who they now see as gauche. But when sound films are introduced, Kitty is no longer a star, and composer Maurice suddenly makes his family rich (for a while) .Written by
Jon Reeves <firstname.lastname@example.org>
When June Clyde gets a Hollywood contract, her family high-hats George Sidney and his family. However, this comedy, released in 1932, is set in the fabulous long-dead days of 1927, and fortunes can turn in two scenes and a plot twist.
With the success of Abie's Irish Rose a decade earlier, a bout of battling Irishmen and Jews was the key to success for a lot of producers; as late as the 1960s, TV saw BRIDGET LOVES BERNIE. No one was more practiced at playing comic Irishmen for the movies than Charles Murray -- he had been doing it for Sennett in their Keystone days -- George Sidney's stock Jew had no trouble keeping up for half a dozen movies. Although the series had grown tired by this point, there's an excursion to the Cocoanut Grove to show off some Universal contract stars, Luis Alberni as a mad Russian director and Robert Greig as everyone's butler when the pace slackens.
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