Cult Review
Senior Film Conservator
Honestly, maybe? If you have a soft spot for grainy, old-school European comedies that feel like they were filmed in someone’s living room, then sure. If you need a plot that makes sense or pacing that doesn't jump around like a nervous squirrel, you should probably skip it. It’s for the folks who like digging through the bargain bin of history.
The whole thing has this weird, restless energy. Characters are constantly walking in and out of frames like they're terrified of being left behind. At one point, I realized I hadn't looked at my phone for twenty minutes because I was trying to figure out why everyone was shouting at the furniture. It’s not exactly high art, but it kept me awake.
There’s a moment about halfway through where someone drops a vase, and the camera lingers on the shards for just a hair too long. It felt less like a narrative choice and more like the cameraman was waiting for a signal that never came. It’s those little, messy moments that make you realize this wasn't made by a committee.
It’s nowhere near as polished as something like There Goes the Bride. That one feels like a well-oiled machine compared to this. Here, the gears are grinding, the paint is peeling, and the actors look like they’re having the time of their lives just trying to remember their lines.
I can’t tell if the frantic pacing was intentional or if they just wanted to finish the day's shoot early to grab dinner. Either way, it works in a weird, lopsided sort of way. It reminded me a bit of the frantic energy in Play Girl, but with more hats and significantly more shoulder shrugging.
You’ll probably hate it if you’re looking for a coherent story. If you’re looking for a snapshot of a different era where people just talked fast and hoped for the best? Yeah, you’ll find something to latch onto. It’s imperfect, sure. But it’s not boring, and that’s a win in my book. 🎞️

Year
1932
IMDb Rating
—

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Deciphering the legacy of transgressive cult cinema.
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