Why is Marian Kirby still around after Cary Grant's George went off to his final resting place after they helped reunite pal Roland Young and his jealous, suspicious wife Billie Burke in the first film? She did as much as George did, but probably because Constance Bennett was available (and willing) and Grant went onto other projects, producer Hal Roach decided to suspend disbelief and bring her back, now with Asta from the "Thin Man" movies (and Grant's two screwball comedy classics, "The Awful Truth" and "Bringing Up Baby"), as her companion. Prodded by her best friend (Verree Teasdale at her absolute snootiest), Burke is once again separated from Young, and is off for a European trip where Teasdale has pushed her together with obvious gigolo Alexander D'Arcy. Young must once again rely on the ghostly help of Bennett to win his wife back, and this leads to more magical hijinks, which if not as classically funny as the first, are often amusing and clever.
There's truly a sense here that a sequel concerning Marian Kirby was not necessary, and fortunately in the third and final Topper film, a new ghost popped in with one contained plot line that wrapped up neatly. Bennett is still gorgeous to look at, and there is one very clever sequence with invisible Bennett and the very visible Young having drinks, and befuddled bartender Paul Hurst's hysterical reactions to the whole goings on. Alan Mowbray is back as the droll butler, and Franklin Pangborn adds his usual pickle-pussed humor into his role as the manager of the hotel where Burke is staying, and where Young ends up in a basement room that ain't so peaceful. Grant's scenes from the first film really serve no purpose other than to add him into the credits with a special "thank you" that also adds to the feeling that this really didn't serve any purpose other than to play on the success of the original. Other than that, the whole premise really does turn out to be an afterthought that is truly pleasant, but mostly unnecessary.
There's truly a sense here that a sequel concerning Marian Kirby was not necessary, and fortunately in the third and final Topper film, a new ghost popped in with one contained plot line that wrapped up neatly. Bennett is still gorgeous to look at, and there is one very clever sequence with invisible Bennett and the very visible Young having drinks, and befuddled bartender Paul Hurst's hysterical reactions to the whole goings on. Alan Mowbray is back as the droll butler, and Franklin Pangborn adds his usual pickle-pussed humor into his role as the manager of the hotel where Burke is staying, and where Young ends up in a basement room that ain't so peaceful. Grant's scenes from the first film really serve no purpose other than to add him into the credits with a special "thank you" that also adds to the feeling that this really didn't serve any purpose other than to play on the success of the original. Other than that, the whole premise really does turn out to be an afterthought that is truly pleasant, but mostly unnecessary.