An old vaudeville gag has a wife hiding her lover in her closet as her husband comes home unexpectedly, and when he goes to the closet, the lover claims he's waiting for a streetcar as one arrives in the nick of time. This is nothing more than an almost plotless musical comedy about an American theatrical producer (Jack Benny) in London who accepts the invitation of a neglected wife (Binnie Barnes) to come to her country estate for the weekend to make her husband (Edward Arnold) jealous. He's already upset because the musical comedy star he's in love with (Dorothy Lamour) loves somebody else (Phil Harris). Then there's "Rochester", aka Eddie Anderson, Benny's wise-cracking but loyal valet who gives Mr. Benny as good as it takes. Toss in Betty Grable in a pointless role as a chorus girl and you've got the ingredients for a comical pie where sadly the fruit has been left out.
Some lavish production numbers are interspersed, but other than the luxurious art decco look, they are not really all that memorable. The best scenes of course involve Benny and Rochester's interactions, especially a huge meal where the dateless Benny refuses to allow Rochester to partake of it until he is dumped by Lamour and turned down by Grable and her chorus girl friends who would rather spend an evening with their Aunt Tilly than with Jack. The rapporteur between Benny and Robinson might often seem subservient from Rochester's point of view, but it becomes very clear that Benny would be absolutely lost without him and that Rochester is greatly aware of that.
Isabel Jeans ("Gigi") and Monty Woolley ("The Man Who Came to Dinner") have inconsequential supporting parts as members of Barnes' and Arnold's social set, with Jeans very comical in her over the top French accent as the instigator of Barnes' deception. Barnes is urbane and sophisticated, and Arnold his usually gregarious self, very funny in a scene where Barnes brags about her lunch with Benny as he basically responds, "That's nice, dear". Of course, when all becomes clear to him, it's a different story, and Arnold spends much of the rest of the film trying to shoot Benny for messing with his wife. Unlike other comics of the time, it appears to me that Benny simply tried to repeat the success of what he was doing on radio, not really thinking that audiences at the movies wanted something more solid than gags and a couple of decent songs. It isn't bad, but I wouldn't call Benny a threat at Paramount to anything his good friend Bob Hope had been doing already.
Some lavish production numbers are interspersed, but other than the luxurious art decco look, they are not really all that memorable. The best scenes of course involve Benny and Rochester's interactions, especially a huge meal where the dateless Benny refuses to allow Rochester to partake of it until he is dumped by Lamour and turned down by Grable and her chorus girl friends who would rather spend an evening with their Aunt Tilly than with Jack. The rapporteur between Benny and Robinson might often seem subservient from Rochester's point of view, but it becomes very clear that Benny would be absolutely lost without him and that Rochester is greatly aware of that.
Isabel Jeans ("Gigi") and Monty Woolley ("The Man Who Came to Dinner") have inconsequential supporting parts as members of Barnes' and Arnold's social set, with Jeans very comical in her over the top French accent as the instigator of Barnes' deception. Barnes is urbane and sophisticated, and Arnold his usually gregarious self, very funny in a scene where Barnes brags about her lunch with Benny as he basically responds, "That's nice, dear". Of course, when all becomes clear to him, it's a different story, and Arnold spends much of the rest of the film trying to shoot Benny for messing with his wife. Unlike other comics of the time, it appears to me that Benny simply tried to repeat the success of what he was doing on radio, not really thinking that audiences at the movies wanted something more solid than gags and a couple of decent songs. It isn't bad, but I wouldn't call Benny a threat at Paramount to anything his good friend Bob Hope had been doing already.