Newlywed hubby insists upon hotel life, so to a hotel they go, and after his wife becomes the belle of the establishment, they migrate to a California bungalow. Then, when wifey is planning a surprise party for him, the husband comes home unexpectedly.


Lobby chandeliers, honeymoon nerves, and a misplaced mash note—Kiss and Make Up plays like champagne left out overnight: still fizzy, slightly sour, and unexpectedly intoxicating. Picture Manhattan, 1934. Skyscraper shadows slice through afternoon haze while the Waldorf’s revolving door disgorges a freshly married c...


Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Al Christie

Al Christie
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" Lobby chandeliers, honeymoon nerves, and a misplaced mash note—Kiss and Make Up plays like champagne left out overnight: still fizzy, slightly sour, and unexpectedly intoxicating. Picture Manhattan, 1934. Skyscraper shadows slice through afternoon haze while the Waldorf’s revolving door disgorges a freshly married couple who reek of cologne and trepidation. Director Harlan G. Edwards—working under the one-off alias “Harvey Howells”—understands that hotels are erotic pressure cookers: every ke..."
Dagmar Dahlgren
United States


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