Having read the 700-page biography of Barbara Stanwyck, which only goes up to 1941, I'm not inclined toward sympathy for her first husband Frank Fay, who stars in this Warners bedroom farce. He was arrogant and possibly abusive, and you can see his career in free- fall here. But he's not bad. As an irresistible Don Juan in Paris, which is itself a bit of a stretch, he has a good way with a comic line and is expert at physical comedy. You don't know why Laura La Plante, Joan Blondell, and Louise Brooks, among others, are all fighting over him, but director Michael Curtiz sustains the action nicely, and the Deco costumes and sets are a treat. There's also the nice additional pleasure of a "Show Boat" connection: Leading lady La Plante, who's charming, had recently been Magnolia in the first film version, and Charles Winninger, the stage Captain Andy who repeated his role in the 1936 version, is her dad. He's quite different here, and good.

In this painfully drawn out bedroom farce, set in Paris, Frank Fay is miscast as the titular love object, a descendant of Don Juan, who is smitten with a young American in Paris (Laura LaPlante) but in order to win her must extricate himself from the tangled web of his long- term intrigues with a virtual harem of lovers (played by Joan Blondell, Margaret Livingston, a sadly underused Louise Brooks and others). The set up is amusing and deftly staged by Michael Curtiz, but once the direction of the plot becomes clear it bogs down in long, boring and insultingly stupid gag sequences, one upon another, involving Fay's diagnosis with a potentially fatal illness; eventually the viewer can only long for this character's demise. The fine lineup of female supporting players is wasted as are Charles Winninger as LaPlante's suspicious and protective father and Alan Mowbray as (what else?) the butler. Tyrrell Davis gets to wrap the whole thing up with a decadent chuckle, foreshadowing his even more unusual closing moment in "Our Betters" two years later.Frank Fay's trademark casual banter works against him here because it only adds to the already sluggish pace.

I thought this film was much better than its IMDb rating (4.9/10 at the time). It's an obscure early talkie, but it's mildly amusing and, at only 72 minutes, no great waste of time.For movie buffs, the draw of this film is its cast and crew. It's one of Joan Blondell's early films and it's a rare opportunity to see iconic silent screen star Louise Brooks in a talkie. It's also one of the few films of popular vaudeville comedian Frank Fay. Familiar character actors like Alan Mowbray and Charles Winninger have supporting roles, and the whole thing is directed by the great Michael Curtiz (CASABLANCA).GOD'S GIFT TO WOMEN (1931) is a comedy about romance. Frank Fay plays a modern-day Don Juan, a notorious Parisian playboy and ladies' man who is smitten with an American tourist. His high-living social crowd and various paramours complicate his efforts to win over the girl (and her father) and become a one-woman man. His situation gets tougher when he is diagnosed with an aneurysm that threatens his life if he is overly excited (i.e., "no more girls"). Would he go for that last kiss if he knew it would mean instant death?Frank Fay gives a solid comedic performance, with his sort of off-the-cuff wit. He nimbly toes the line of pre-Code profanity, several times saying "Go to --" before abruptly switching gears. He's particularly funny once he learns he's a dying man. There's a fun scene where he quibbles with an undertaker about his funeral arrangements.Laura La Plante is a nice-looking girl, but she just doesn't have "it" and she makes for a rather dull leading lady. Luckily she disappears for much of the second half of the film, allowing Curtiz to showcase Joan Blondell, Louise Brooks, and Yola d'Avril buzzing around Fay's bedroom in various states of dress (as they all come to nurse Fay back to health).Joan Blondell is a favorite of mine and she sparkles in her secondary role, jumping on top of Frank Fay (who must avoid women, lest his aorta burst) when she finds him an uncooperative patient. Louise Brooks's name is almost lost in the middle of the cast list and she doesn't have a very big part, but she makes an impression in that bedroom farce scene with her alluring attire and screen presence.

I initially began watching this film with the preconceived notion that Louise Brooks had more of a major role. In which she had just a minor one. And so I was disappointed because of it. After having owned this video I can say that I have only seen it once, and that I remain neutral on the movie itself aside from the Louise Brooks issue. I have seen better old films though it did have it's more comical points that I did enjoy.