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Marion Davies Romp
Dr. Ed-213 November 2001
Very underrated comedy stars Marion Davies (in her final film) as a woman who frumps herself up to land a secretarial job. Because the frump is efficient, the boss (Robert Montgomery) continues to chase women: a conniving shrew (Marcia Ralston) and a blonde beauty (Davies!) who he meets at a nightclub. Role-reversal comedy is fun from the start with Davies at her comic peak as the dour frump. She's not afraid to look really bad. Excellent supporting cast includes Patsy Kelly, Allen Jenkins, Frank McHugh, Louise Fazenda, and Mary Treen. Once again Davies proves she had acting talent (given the right roles) and that was was a total delight. Her best comedy performances stand up against those of Carole Lombard, Myrna Loy, Jean Arthur or Irene Dunne. Catch this one.
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From Beautiful to Plain - and Back Again!
movingpicturegal9 April 2007
Very entertaining romantic comedy starring Marion Davies as Marge, a gal who keeps quitting or getting fired from her secretarial jobs because she's too attractive to keep her bosses from chasing her, asking her to stay for "night work", etc. At the employment agency she hears about a job at a publishing company that only hires "homely" secretaries, so she makes herself over to look plain - complete with thick round eyeglasses, short dark wig, over-sized suit, sensible shoes, and funny-looking hat (de rigueur for this kind of deception, it seems) - and gets herself the job. She's soon put to work as secretary for handsome ladies man Freddy Matthews (played by Robert Montgomery) who is writing a book with a firm due date at the publishers - problem is, he just can't keep his mind on the job. So - he thinks she has a "face that would stop a clock" (hmmm - he met her as herself in an earlier scene and thought she was a beauty, just a pair of glasses makes that much difference?!) so has no interest in her, she takes it upon herself to press him into completing his book and keep him away from distractions like his jealous, extremely hot-headed girlfriend.

Well, this film is a lot of fun - the story is very enjoyable and funny, with well done performances by all. Marion Davies is fun to watch switching back and forth between blonde beauty and plain jane, Robert Montgomery is his handsome, charming, usual self, Patsy Kelly adds some humor to the mix playing Davies wisecracking roommate/gal pal and Frank McHugh is amusing as a man who writes books for young girls under a female pseudonym. The plot of this film has an element that you just must except (like many other similar films with this sort of disguise) - the fact that our man is completely unable to recognize, either visually or by her voice, Davies character when she has on the glasses and wig. He actually meets Marge at one point in the film, dressed as herself, and they go out and begin to fall in love - and he doesn't have a clue that she and his secretary are one and the same person! All in all, I found this film to be a pleasant watch, well worth seeing.
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This movie is a gem
shane_6044 August 2009
Many screwball comedies of the 30's and 40's are regular fixtures on the TV movie circuit, so, that you might know movies like It Happened One Night or Bringing Up Baby almost by heart they've been on so often. I've seen Ever Since Eve a couple of times on TCM, but that is about the only place you'll run into it. Too bad! But at least it does keep the story somewhat fresh, as much of it works with an element of surprise. Still this is a well-made gem that deserves to be seen more often.

Short plot summary: Marge Winton is caught between eating 3 squares a day and preserving her virtue. She's a very good secretary who happens also to be very good-looking. Every time she lands a job the boss tries to land on her after hours and she has to quit. She happens upon a publishing company that insists that all their secretaries be unattractive and decides to disguise herself and take a job there. She ends up working for a playboy author who is not doing any work largely because of girlfriend Camille (Ralston) The publisher sets Marge to the task of making him write.

The cast is filled with veterans who provide predictable laughs and display well-honed comic chops. Patsy Kelly and Alan Jenkins are great fun as Marge's roommate and her loutish boy-friend. They keep the action moving and push the screwball accelerator down a notch when the story threatens to get too soppy. Likewise, Marcia Ralston with her jealous girlfriend sets a tempestuous tone that keeps us from thinking too hard and would explain Freddy Matthews' (Robert Montgomery) inability to get his life in gear. Anyone who's dated a psycho can relate. Montegomery, as usual, is smooth and bubbly as the boy hero. He played that role so often, he could no doubt play it in his sleep.

While most of the story can be seen coming there is a real surprise when Davies pulls off the transformation.

In contemporary movies, we've had several stars try this trick. It's almost a Hollywood stereotype. Most notably we've had Julia Robert's trying to convince us that she was the ugly duckling sister; Sandra Bulluck as an unattractive(?) cop; Gwyneth Paltrow donning a fat suit and Renee Zellweger actually gaining weight for the part. No one could possibly believe the first two examples, because gosh darn it they were just too good looking. The Bullock example is stunning, because she is in the top .001 percentile of attractive women on camera. The studios have never made her look unattractive. The last two succeeded sort of. Zellweger took on the frumpy role just as De Niro took on the weight in Raging Bull, she wasn't made-up she was. Paltrow is wearing a fat suit and carry's off the ploy, but this is a triumph of extreme make-up.

Davies pulls this off stunningly. Although it is but a wig, glasses and a change of clothes, it is thoroughly convincing. In fact, it is her acting chops that really pull this off, because she really takes on the manners and attitude of the plain girl and can just as easily switch back to the babe. When she tests it out for the first time on us and plumber Al, who is expecting the babe, we are already expecting her plain Jane disguise, but she exceeds our expectations. She could have easily slipped on to another movie set and played the frumpy secretary. Later on she even shows us the transformation from one to the other but it is still believable. She has brought the dual role to life much as Hoffman in Tootsie made us accept the dualism in his drag role. Really, the only thing that is hard to believe in this story is that Montegomery could actually write. Though, we can believe that Davies could get him to do it.

All in all this movie is unrelenting fun and a fine time waster.
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Actually a very funny film.
Sterling-331 December 1998
Had always heard how rotten this film was. Imagine my surprise when I finally saw it and found it one of the most enjoyable of the Warner's 30's comedies. Marion is a delight, totally natural . . . which is why I guess, they never thought she could act! The film has a great supporting cast. Louise Fazenda has a hilarious role as Abigail Beldon the book publisher, and Merle Oberon look alike, Marcia Ralston makes a vicious "other woman". The whole thing is fun. Take it for what it is . . . just entertainment.

Oh yes, plot is Marion makes herself over to be plain and ugly to get a job and falls for Robert Mongomery, her employer.
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nice little surprise of a movie
jcravens4222 August 2016
What a gem of a movie! Sure, some of the circumstances are preposterous, even for 1937, but the pace is fast, the characters are fun and the building tension as the main character tries to juggle being both Marge Winton and "Sadie Day" is as much fun as the climax of "Mrs. Doubtfire" in the restaurant when Robin Williams just continually change between characters. I'm stunned this has never been remade (or perhaps it has?).

Marion Davies is a delight, every bit as fun as Carole Lombard. I've never seen her in a movie, and always heard she was a mediocre actress. But she's actually quite good, perfect for this role.

On the one hand, this is an incredibly dated movie. On the other hand - is it? Sexual harassment is certainly still a problem in the workplace, though how a woman looks is no protection against it or invitation for it, as this movie implies. But the scene where Marion Davies, in frumpy disguise, isn't helped as she enters a hotel and doesn't get a very nice reception from the front desk clerk, but beautiful "Sadie Day" gets helped and warmly welcomed - has anything really changed from then until now?

It was also startling, and refreshing, to see black British actor Frederick Clarke as the urbane butler, though I held my breath when a character was furious with him started to insult him with a word that started with "n" - and sighed with relief that the word turned out to be "nincompoop."
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Does she ever!
tashman27 February 2002
I agree with the first comment, that I expected a poor picture and discovered a highly entertaining light comedy. Yeah, perhaps Marion Davies was typically too old to be playing what the reviewers called another "eye-batting ingenue," but she's not batting her eyes here. The entire concept of a woman succeeding based on her hard work, talent, and merit is taken quite seriously for a "silly comedy." This concept has been used time and time again, particularly with Laura La Plante in the English THE CHURCH MOUSE (35), and the earlier Warner BEAUTY AND THE BOSS, with Marian Marsh. La Plante was splendid, Marsh a bit inexperienced to carry off the entire chore, but Marion Davies plays with professional elan, and as usual, she is surrounded by folks who see to it that your time is never wasted - Patsy Kelly, Louise Fazenda, Frank McHugh, Allen Jenkins, and Barton MacLane. Bob Montgomerey was borrowed from MGM, and although he's certainly at home in such material, he doesn't seem to be enjoying the ride as much as the rest of the cast. Davies made four films at Warners, and although Jack Warner claimed they all made (highly suspect) profits, they were certainly lavish affairs. EVE was the final appearance, and although it was not PEG O' MY HEART or SHOW PEOPLE or WHEN KNIGHTHOOD WAS IN FLOWER, it is by no means a poor film, in fact, I would stack it against any later 30s film starring one of her contemporaries, say, Norma, Dolores, Janet, or Joan.
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Marion Davies pushing the envelope a bit
blanche-217 September 2009
"Ever Since Eve" is a cute comedy from 1937 starring Marion Davies, Robert Montgomery, Patsy Kelly, and Allen Jenkins. Davies plays a secretary who gets sick of the men she works for hitting on her all the time - so sick, in fact, that she makes herself into a homely frump and goes to work for Robert Montgomery, who plays an author in need of someone efficient so that he can finish his book.

Davies' transformation is very good, but I have to admit that I didn't find her so much of a knockout normally that no man could keep his hands off of her. It was really a role for someone like Jean Harlow. The interesting thing is, Davies was 40 at the time. It was unusual in those days for an actress to still be playing starring roles by then and only superstars with clout could get away with it. Norma Shearer retired at 40, as did Greta Garbo; by the time Joan Crawford was 38, MGM was giving her junk, and she was drummed out of the studio.

Davies is very good, and the film is cute, with good performances from the rest of the cast. Davies' acting abilities come as no surprise to me, as I have enjoyed many of her performances. She was a bright presence as well.

"Ever Since Eve" goes down easily. It's not a masterpiece, not a classic screwball comedy, but it's very enjoyable.
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Assembly-line, but Marion gives it some zip
marcslope24 January 2011
William Randolph Hearst preferred to see mistress Marion Davies in magnolia-scented romances, but comedy was her forte, and she gets a nice chance to show off in this screwball romance, her last movie. She's a capable secretary who's sick of being pawed by her bosses and disguises herself as a frump. The trouble is that even a brunette-wig Marion with unbecoming glasses isn't THAT hideous, and the plot machinations stemming from her deception thus seem a little under-motivated. Further, it's something of a B supporting cast--what's Louise Fazenda doing in a role with Edna May Oliver written all over it, and why isn't Gail Patrick playing Marion's nemesis instead of this nobody? Bob Montgomery is just fine playing the light-leading-man sort of role he did dozens of times, and Patsy Kelly and Allen Jenkins are very reliable in this sort of thing. It doesn't sparkle, but as others have noted, it makes its serious points about women in the workplace who aren't appreciated for their talents, and Marion looks like she's having fun getting to be something other than a boring beauty.
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Mildly Entertaining Comedy
Michael_Elliott29 August 2009
Ever Since Eve (1937)

** (out of 4)

This politically incorrect but mildly entertaining film turned out to be Marion Davies final movie as she would retire at the age of forty. Warner threw her an excellent supporting cast and a nice director but none of it would really matter in the end as the film really fails to live up to what it should have been. Davies plays a beautiful secretary who is getting tired of her bosses hitting on her so she makes herself "homely" in order to get a real job without being harassed. Her latest boss (Robert Montgomery) has a deadline on a novel he must finish so the ugly Davies has to keep him working, although the beautiful one is falling for him. While watching the film I couldn't help but think of TOOTSIE but this one here is certainly far from a classic. The movie remains entertaining from start to finish but for a comedy there are very few laughs to be had here, which is a shame because there's a great cast here. Not only do we have Davies and Montgomery but we have Warner contract players like Frank McHugh, Patsy Kelly and Allen Jenkins. The three supporting players end up getting more laughs than the two leads with Jenkins stealing the film playing the usual dumb character we've all come to love. Davies is a tad bit too old for her role even though she's still very easy on the eyes. You do have to give her credit because there have been all kinds of famous people to do the ugly duckling roles but not really turn themselves very unattractive. Davies at least goes all out and transforms herself to the point where you can't recognize her. Some might be unhappy that Davies spends most of the film as the ugly character but I think she deserves credit for it. Bacon's direction never really comes alive as the movie never contains enough energy or laughs to keep moving. Fans of the cast will certainly want to check this out but others should stay clear.
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Agreeable enough but also kind of stupid...
MartinHafer15 August 2009
This is a film where you must completely turn off your brain in able to enjoy it. Apparently members of the Marion Davies cult must have no problem turning off their brains, as 52.2% of the people who have rated this film gave it a 10. This, for a film that is a tad silly and was never meant as "high art"--even by Miss Davies. Plus, it turned out to be such as disaster at the box office (following several other recent disasters) that she called her career quits following this film.

It's a shame really, as she is neither as bad an actress as some have claimed over the years (though she did some bad films--particularly in the 1930s) nor was she the greatest or among the greatest stars of her era either. The truth lies somewhere in between. With lovely films like SHOW PEOPLE and THE PATSY, she demonstrated that she could do well with good material. But, with films like CAIN AND MABEL and OPERATOR 13, she could also be sunk by junk scripts.

Here with EVER SINCE EVE, she is given an adequate script but just wasn't the right person for the role. Marion might have done better with a script that accepted that she was no longer the young star she had once been. Having a 40 year-old woman play a woman who men chase after like the wolf from a Tex Avery cartoon is pretty silly. Miss Davies didn't look that bad for 40, but she clearly was not the beautiful starlet she was in the 1920s--she'd put on a few pounds (as we all tend to do) and just looked every bit her age. Yet, every man that met her in the film instantly began sexually harassing her at every turn--she was supposed to be that hot and desirable.

As a result of constant sexual harassment, in the film Marion comes up with a perfect remedy for all these unwanted advances. She would put on old fashioned glasses and dress like a sex-less old lady. And, instantly, all the unwanted suitors left her alone! This is pretty silly, as Marion STILL looked like Marion--even with the glasses and ugly business suit. It reminded me of the Wonder Woman TV show. With her glasses on and hair up, no one thought Lynda Carter was beautiful. Then, without the getup, everyone would drool uncontrollably at her! Heck, even wearing concrete or a box, Ms. Carter was majorly smokin'! Miss Davies, while not quite as amazing, still was ridiculous under all that getup--it just wasn't convincing. Nor, unfortunately was the romance that developed later in the film with Robert Montgomery.

As for Patsy Kelly, she was one of the loudest and most obnoxious actresses of the 1930s. Here, she is up to her usual standards of acting. It's a shame she's in the film, as Marion was handicapped by having this lady as her supporting actress. Allen Jenkins, often pretty good in films, wasn't particularly helpful here, either.

So, overall, it's a silly piece of fluff and I am probably being very generous in giving it a 5. However, despite a silly plot, it is watchable and fun here and there.

By the way, I have noticed that other reviewers who did not adore this film were flooded with "not helpfuls". Too bad, as some of these reviews are very good and well thought-out--like mystn's.
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It always was all about Eve, and here, she only has two faces!
mark.waltz13 January 2011
Warning: Spoilers
For a film that starts off so promising, "Ever Since Eve" ends up very disappointing. For the first third, it's quite funny, this story of office sexual harassment where the victim can't go to HR. She simply makes herself into a plain Jane to avoid amorous bosses to whom overtime doesn't include office work. Marian Davies (quite lovely, as Louella would always say!) does what Ginger Rogers did two years ago in "In Person", for different reasons, however. This is confusing for her rowdy roommate (Patsy Kelly) and her boyfriend (Allen Jenkins) and for her new boss, an author of movie stories (Robert Montgomery) who has a really obnoxious socialite fiancée (Marcia Ralston). So far, so good. Montgomery at first finds the plain version of Davies too demanding of him (because of his boss, Louise Fazenda), but when she quits because of accusations made by Ralston, he goes to her apartment where he meets the pretty version of Davies. Thus, he falls instantly in love, but she pretends to leave town so he'll finish his deadline. Montgomery follows her to the place she really didn't intend to go, so Davies must rush there, both as her pretty and plain versions. Confused??? This is where the film goes off the rack, having a sudden group of thieves interrupt, including one woman who looks exactly like Davies and is wearing the exact same costume.

As I said, the first 2/3 are really entertaining, not in a "My Man Godfrey" classic sort of way, but still enjoyable. Everyone is doing their best to provide laughs in a ridiculous but still fun plot line. But once they get to the inn, it just gets too much. Poor Ralston, who resembles Merle Oberon, but doesn't get to be as ladylike here, suffers all sorts of indignities with her obnoxious character. Frank McHugh too is around as Montgomery's pal who escorts Ralston when her fiancée is not available. Today, this sort of plot line could never be filmed because of its obvious use of sexual harassment and the way that is handled in the workplace. But in the 30's, the "How to Succeed in Business" song "A Secretary is Not a Toy" hadn't been written yet and as any 30's movie viewer knows, a secretary made many a hard-working businessman very happy. This is one of those films to take with a grain of salt and enjoy mostly for its fine character performances and sometimes witty banter.
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A secretary in disguise
louiseculmer25 February 2020
Marion Davies is Marge, a secretary who has trouble with unwelcome advances from her bosses. One day she hears of a job working for a publisher who only hires plain secretaries. So Marge gets a makeover and is plain enough to get the job. The lady publisher who employs her doesn't want her male writers distracted by pretty secretaries. So Marge is sent to work for writer Freddy Matthews (Robert Montgomery) and keep his mind on his job. Naturally this leads to a lot of complications. Marion Davies is very funny as Marge, and so is Patsy Kelly as Marge's down-to-earth friend Sadie. Robert Montgomery is delightful as always. I love this film, it's so funny, a pity it's not better known.
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Moderately interesting screwball comedy, with Marion Davies and Robert Montgomery
weezeralfalfa6 January 2019
Warning: Spoilers
A Warner situation comedy , starring Marion Davies, in her last film role, as the gorgeous blond secretary Marge Winton, who gets too much attention from bosses who want her to moonlight with them. At one company, she had 3 bosses ask her to moonlight the same evening. She quit that day, and saw to it that her replacement was an old crow. Another trip to the employment agency yielded a request for a homely secretary. She went shopping for items to make her look homely: a short -shorn brunet wig, glasses, and a loose-fitting dress. Arriving at the publishing company, the owner: Abby Bellden decides she will be perfect for a handsome, but flighty, bachelor author: Freddy Mathews(Robert Montgomery), who is behind on his next book, contracted to be finished by a certain date. She helps him catch up, but one day his shrewish society girlfriend, ( Marcia Ralston, as Camille) arrives, wanting to know why Freddy hasn't answered her phone calls. Marge has not been relaying them, to keep Freddy's mind on his work. The 2 women have a falling out, and Marge quits. But Freddy finds he can't read her hand-written notes. So, he goes to her apartment. Marge has changed into her glamourous self, which is what he sees when she opens the door. Thinking quickly, she claims she's Marge's roommate Sadie,( Patsy Kelly as Sadie, is her roommate but isn't then in). Freddy is impressed, and asks her to dinner. She tells him that Marge left town already, and was going to a certain hotel. Freddy hurries to get to that hotel, telling Camille to meet him there. Margie, as Sadie, follows him there. Once there, she finishes writing his book before seeing him. Freddy takes a room next to Marge's, and sneaks out on the balcony, as he has a suspicion that Sadie and Marge are same person. He confirms this as he sees Margie transform into Sadie. Later, he confronts her as Sadie, as well as Camille. The latter gets very jealous, and says she is quitting her relationship with Freddy, and walks out. Marge, as Sadie, and Freddy discuss marriage.......... I don't know why she would be interested in this lazy bum!
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Only plain janes hired
bkoganbing3 January 2019
Marion Davies said farewell to the screen on a relatively high note with a nice screwball comedy Ever Since Eve. It was done over at Warner Brothers where William Randolph Hearst moved her private trailer to from MGM a few years earlier. But as a co-star the brothers Warner got Robert Montgomery over from MGM where he had done Blondie Of The Follies with Davies.

Montgomery plays a writer who can't buckle down to work because he's chasing women. But his publisher has a remedy for that, they only hire plain janes as secretaries and stenographers. They truly believe in the wisdom from How To Succeed In Business that a secretary is not a toy. So Davies who Montgomery had previously met dowdies herself up and goes to work for him.

The usual comedy of errors follows. The only one who knows what Davies is doing is flat mate Patsy Kelly. One of the best scenes in the film is when Kelly's boyfriend Allen Jenkins is looking to fix up his boss Barton MacLane with Davies and she comes in her dowdy persona. He can't wait to get out of there and Kelly keeps Jenkins in the dark the rest of the film. Poor Jenkins is ready to check himself into Happydale Acres.

I never think of Barton MacLane in comedy, but nice to see he has this to his credit as well as The Rounders and I Dream Of Jeannie.

Montgomery and Davies worked well together. Marion probably could have done more films. But she quit at the top and made it stick.

This one is a really good 30s screwball comedy. I only wish Davies had done more like this.
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A Sight for Sore Eyes
lugonian14 May 2017
EVER SINCE EVE (Warner Brothers, 1937), directed by Lloyd Bacon, stars comedienne Marion Davies in what proved to be her final screen appearance. With her career dating back to the silent era of the 1920s, ranging from drama, historical costume epics and later occasional musicals during the sound era, many agree that Davies was at her best when it came to comedy, especially the available silent Hollywood story titled SHOW PEOPLE (MGM, 1928). Even in sentimental drama as PEG O'MY HEART (MGM, 1933), Davies could be quite appealing. Leaving her home base of MGM by 1934, she settled for Warner Brothers where she starred in four productions before EVER SINCE EVE made it her last before retirement. Whether this was intentional or not is uncertain, for that approaching the age of 40, it would be a matter of time before Davies might turn to  character parts or mother roles. Though EVER SINCE EVE is not a Biblical tale of Adam and Eve, it's only a movie title with a song number bearing that title, but no character in the story named Eve. It's a story about a pretty secretary named Marge posing as a homely girl so not to have her male bosses doing more than dictating on company time.

Set in San Francisco, California, the story opens by the building of the Peace and Purity League where five pound boo volumes of "The History of Peace" are thrown out the window landing on the sidewalk to a crowd of pedestrians below. The camera soon captures Marge Winton (Marion Davies) quitting the firm after Mr. Mason (Harry Hayden) "was giving dictations but was a little too fast." Her next place of employment for Henderson, Barton and Lowell Imports finds her going through the same routine with the company presidents, Henderson (William B. Davidson), Barton (Pierre Watkin) and Mr. Lowell (John T. Murray), all wanting her to work overtime and in private. At the Johnson Employment Agency, Marge learns of a publishing company hiring only homely women to keep the male workers on their jobs and not on their pretty secretaries. Turning herself into an ugly ducking, Marge takes the position under the male figure of a woman president, Abbie Belldon (Louise Fazenda), who assigns Marge as stenographer under Freddy Matthews (Robert Montgomery), an author whose book is due for completion by May 1st. Matthews delay in meeting the deadline is caused his jealous girlfriend, Camille Lancing (Marcia Ralston), who takes up much of his time playing around. After Marge quits, he soon realizes she's the most efficient stenographer he ever had. Wanting her back in his employ, he comes to her place of residence where he meets the pretty Marge, posing as her roommate, Sadie Day (Patsy Kelly), which stirs up confusion with Sadie's plumbing boyfriend, Jake Edgall (Allen Jenkins). Afraid of losing her job, Marge becomes Sadie, followed by a relationship of love. In order to get his book finished or else face a $30,000 lawsuit, "Sadie" leaves Freddy and heads for Monterey. Unable to forget "Sadie," though ignoring his deadline, Freddy leaves for the Monterey Tavern to find Marge, who stirs up further confusion trying to be two people at the same time without arousing suspicion.

Among those in the cast featured are: Barton MacLane (Al McCoy, Jake's boss); Frank McHugh (Mike McGillicuddy, employee under Miss Bellkon using the name of "Mabel DeFlaven); Frederick Clark (Alonzo, Freddy's Butler); Charley Foy (The Bellboy);  and Mary Treen (The Employment Clerk), among other. Brief song interludes include: "Shine On, Harvest Moon," "The Wreaths of Flowers," "Ever Since Eve" (by Jack Schroll and M.K. Jerome); and Spanish dance performed by uncredited couple. The pleasing title song is also underscored during title credits and story

Overlooking the fact that there was an earlier film bearing the EVER SINCE EVE title for Fox Films (1934) starring George O'Brien and Mary Brian, the one thing about this EVER SINCE EVE should have been was being an exceptional comedy, but somehow became a misfire upon release. Though the casting and comedy lines are well cast and constructed, when released at the time here screwball comedies were on the rage, EVER SINCE EVE didn't seem to warm up to either movie going public or critics possibly because of Davies' unattractive presence of either looking like a comic strip character, or a pale comparison to silent screen actress Colleen Moore in horn-rim glasses and long bangs. Comedienne like Lucille Ball in later years could and would get away with becoming unglamorous types such on television, as this and accepted and adored with laughter by her viewers. It's a wonder how the public might have accepted other leading ladies as Jean Arthur, Carole Lombard or Jean Harlow in the same situation? The plot is formula material, which is no surprise here. Robert Montgomery (on loan from MGM) is quite acceptable as the author with who'd rather have his eyes on attractive women than finishing his novel; while Patsy Kelly, as usual, adds amusement getting a quota of laughs with her one-liners. Barton MacLane, usually a serious actor, is briefly shown as one to date Marge, only to run the opposite direction after seeing her new image.

Never distributed to home video, EVER SINCE EVE does deserve a look, especially for it being Marion Davies' farewell performance, whenever it turns up on Turner Classic Movies cable channel. (**)
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Marion Davies at forty in her last film role...
Doylenf9 April 2007
In this harmless bit of fluff, MARION DAVIES plays a secretary who is so pressured by men making passes at her that she decides to make herself into a frump in order to get a secretarial job that she can hold based on skill alone. Naturally, she falls in love with her boss (a youthful looking ROBERT MONTGOMERY), and the fun develops in seeing how the relationship between Davies and Montgomery will fare once she becomes his dowdy secretary.

Davies is just a little too mature for the role of a fledgling secretary more suitable for a much younger actress. But she's a good sport about donning a "homely" disguise in order to get the secretarial position with the firm interested only in hiring unattractive girls.

There's plenty of comedy relief although it's not all that funny. Warner filled the cast with contract players like FRANK McHUGH, PATSY KELLY and ALLEN JENKINS--but the picture's central plot depends on whether you enjoy the repartee between Montgomery and Davies once she turns up as his unlikely secretary.

Unfortunately, it soon becomes obvious that the screwball aspect (which had possibilities) is stifled by some absurd dialog and foolish situations that are not only incredible but unfunny as played by Davies especially. Montgomery has the more believable role as the playboy boss and does it with his customary professionalism in light comedy.

There's an antique flavor to the script when you hear Allen Jenkins come up with a line like, "Did you know gasoline has gone up to 3 cents a gallon?" Unfortunately, none of the comedy seems spontaneous enough or really works, so it's just as well that Miss Davies made a graceful exit from the screen around this time. Any more films like this and her career would have been over anyway.

Neither PATSY KELLY nor ALLEN JENKINS is doing anything more than wasting their time in this silly effort. Montgomery comes off best, but it's certainly not a shining hour for anyone.
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It really wasn't very good
MissMellieY31 January 2006
I give it a 5 because I liked Marion Davies but on the whole, this really was not a very good movie. For me, Patsy Kelly and Allen Jenkins were horribly annoying. I don't say that often about Patsy as I am a fan but this particular movie was not her best. I admit, though, that she was only annoying when she had to share the screen with Allen Jenkins. HE was the annoying one.

I realize that I am filtering everything through modern sensibilities because it is impossible not to to a degree, but I could not see what she (Marion's character) fell in love with. Robert Montgomery's character was bland at best. The lead romantic characters didn't spend any time together...at least not enough to build a movie romance on. Love at first sight (so to speak)was not particularly well played out. Also, I think the premise could have been much more effectively played out. A pair of glasses and a wig does not render someone unrecognizable.

Marion deserved so much better than this. Now, this is not the worst film I have ever seen but it is by far not a very good effort. It tried for screwball but didn't quite make it there. See it though, if only to be able to see Marion's last screen performance. She was highly underrated. Don't use this as an example of her best work.
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a few laughs, mostly from supporting cast
mukava9916 January 2011
The cinematic swan song of Marion Davies is mostly run of the mill but contains some sparkling supporting performances and some funny gender- based situations. For one thing, the film makes the visual point, perhaps even stale for 1937, that female unattractiveness is connected to straight or severely styled hair, round-rimmed eyeglasses, lack of lipstick and bulky clothing – the look Davies adopts to get hired by Louise Fazenda's publishing house which prefers homely employees.

Robert Montgomery, as the irresponsible fiction writer to whom Davies is assigned, has a washed-out quality here, as if he had grown weary of playing wealthy party boys. Davies, though too old and too laid back, is inoffensive. The oomph comes from the physically and vocally robust Fazenda and three other players: Frederic Clark as Montgomery's impeccably civil butler; Marcia Ralston (strikingly similar to Joan Crawford and Merle Oberon in looks) as Montgomery's fiery tempered girlfriend; finally, Patsy Kelly as Davies's roommate has a way with a good-natured wisecrack.
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