LOVE ON THE RUN
1936 Metro Goldwyn-Mayer
Produced by Joseph L. Mankrewtcz.
Directed by W. S. Van Dyke.
Screenplay by John Lee Mahin, Manual Seff and Gladys Hurlbut.
From the story by Alan Green and Julian Brodie.
Cameraman: Oliver T. Marsh.
Costumes by Adrian.
Editor: Frank Sullivan.
Release date: November 17, 1936.
Running time: 81 minutes.
CAST: Joan Crawford, Clark Gable, Franchot Tone, Reginald Owen, Mona
Barrie, Ivan Lebedeff, Charles Judels, William Dematest.
SYNOPSIS:
Sally Parker (Joan Crawford), a beautiful American heiress living abroad,
leaves her bridegroom-elect, Prince Igor (Ivan Lebedeff) of Taltnka, at the
altar and takes refuge in her hotel suite. Michael Anthony (Clark Cable), a
newspaper correspondent, who has been sent to cover the wedding, promises to
get her out of the hotel unnoticed.
Barney Pells (Pranchot Tone), writer for a rival paper, is interviewing Baron
Spandetmann (Reginald Owen), 'who with the Baroness (Mona Barrie) is to embark
on a stratosphere flying excursion. They are stopping in the same hotel. Michael
- steals their flying suits, and he and Sally put them on and leave the hotel.
They arc escorted to the flying field, by a crowd under the impression that
they are the distinguished flying pair. Just before take-off, a man thrusts
a bouquet of flower's at them. Sally discovers a plan of British fortifications
in the bouquet and they realize that the Baron is a dangerous spy.
They make a rather poor landing in the French countryside, and realizing
that the spies will soon be after them, they disguise themselves as peasants
and go into Paris. Michael cables their story to his paper without Sally's
knowledge. That night they hide out in an old palace and confess their mutual
love. But the next morning, upon seeing a newspaper, Sally realizes that Michael
is capitalizing on their adventures. They quarrel bitterly, and when Barney
arrives en the scene she leaves with him, deciding to get even with Michael
by letting Barney in on the story too. They start for Nice on the train and
are followed by the Baron and Baroness who throw Barney off and capture Sally.
Barney makes his way back to Paris and finds Michael and tells him that Sally
is in danger. Michael locates the Baron and Sally in Nice only to become the
Baron's prisoner. They are taken to a farmhouse where a plane is being warmed
up for a getaway. Barney sneaks in and finds Michael
bound to a chair. Michael persuades him to take his p lace and reluctantly
Barney agrees. Then Michael outwits the spies and binds them securely. He
and Sally leave in the plane, while poor Barney remains still tied to the
chair.
REVIEWS:
Hollywood
Spectator: Such a finished trio as Joan Crawford, Clark Gable and Franchot
Tone can make us believe the unbelievable and entertain us with it. . . -
Love on the Run is screen entertainment easy to take. Its strength lies in
the weakness of its appeal to the intelligence of the audience. It is content
with asking us only to have a good time with it.
John Masher, The New Yorker: The plot is a bit improbable, but these
three impetuous people have caught the spirit of the story and their rogueties
are all depicted with a comic touch. Clever direction, sophisticated dialogue,
novel settings and ludicrous situations combined with excellent casting spell
"reel" entertainment.
Box Office: Another fast, suave, sophisticated comedy about an heiress
--and a star reporter. We like best the -sequence where the worn-out runaway
girl and the tired reporter break into Fountainebleau Palace to hide and seek
a night's frolic-it touches a high point in comedy this year. There a -mad,
fantastic old caretaker mistakes them for the shades of Louis XIV and Mine
de Maintenon is as harebrained a comedy sequence as has yet been celluloided.
Joan Crawford is amusing as Sally Parker, the spoiled darling of the rich;
and Clark Gable, as Michael Anthony, contributes his best comedy role since
Ft Happened One Night.
The New York Times: A slightly daffy cinematic item of absolutely no
importance . . - with Joan Crawford, 7 Clark Gable and Franchot Tone in roles
that by now are a bit stale. In all good conscience, the film ought to bow
to several distinguished antecedents, for it has borrowed liberally here and
there of tried and true screen devices and situations.
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