Director: ANDREW L. STONE. Screenplay: Frederick Jackson, Edmund L. Hartmann. Story: Andrew L. Stone. Photography: Charles Schoenbaum. Film editor: Harvey Manger. Art director: F. Paul Sylos. Set decorator: Earl Wooden. Music: Phil Boutelje. Songs (both Havoc) by Phil Boutelje (music) and Foster Carling (lyrics): "Loved Too Little Too Late" and "Big Sombrero". Music director: Phil Boutelje. Cartoon sequence produced by Leon Schlesinger, directed by Friz Freleng. Make-up: Ted Larsen. Costumes designed by Adrian. Assistant director: Henry Kesler. Sound recording: William H. Lynch. Assistant to producer: Carley Harriman. Associate producer: Edward Finney. Producer: Andrew L. Stone.Copyright 20 August 1943 by Andrew L. Stone Productions, Inc. Released through United Artists: 20 August 1943. New York opening at the Palace: 23 September 1943. Australian release: 16 March 1944. 6,586 feet. 73 minutes. Re-issued by Astor Pictures in 1950 under the title: DIAMONDS AND CRIME.SYNOPSIS: Sailor has only 48 hours leave to get married and have his honeymoon. Alas, both events are subjected to a series of involved, if unexpected, interruptions.COMMENT: A delightfully wacky comedy that pokes fun at marriage, movies, audiences, wheeler-dealing and grand opera (amongst other subjects), breezily directed by Andrew L. Stone and most ingratiatingly played by a fine cast of professionals who know how to extract the most fun from the screwball situations. It's invidious to single out one or two, but I must compliment Adolphe Menjou and June Havoc (who make a great team) and I cannot praise Pola Negri too highly either. Barton Hepburn also contributes well beyond the call of duty to the crazy plot. The support roster bursts at the seams with a parade of our favorite character players, some of whom, like Bert Roach (trapped in a taxi- cab) and Joe Devlin (word-tangled with Mickey Finn) have never had it so good. In fact, so much laughter is generated by the movie, most of us tend to forget it's a so-called "fringe" musical which boasts two delightful songs by the sexy Miss Havoc, the first of which she kindly reprises, and the second which she deals out double-swinging by accompanying herself on a large-screen juke-box. And it's all attractively photographed, set and costumed. Production values, including a delightful surprise cartoon finale, rate as "A" plus.

This film starts out differently, with an animated sequence before the opening credits. This is the first of several off-beat touches which makes Hi Diddle Diddle an enjoyable film. Pola Negri, former silent star from Valentino's day registers well here as a temperamental opera star. Not only is her voice understandable, but it is downright good here. She is also still quite beautiful in 1943, and it seems a pity that she did not have a bigger career in sound films. The rest of the cast, headed by Adolphe Menjou, Martha Scott, Dennis O'Keefe and Billie Burke are all in top form, and a special mention for a musical sequence featuring June Havoc singing along with herself on a soundie screen. There are some good belly laughs to be had and, all in all, this is a charming piece of forties fluff which will whizz by painlessly enough.

This film tries very, very hard trying about to be funny--perhaps a bit too hard. However, in spite of this it's still a pretty decent comedy and one that is a little better than just a time-passer.The film begins with Dennis O'Keefe arriving late at his wedding to Martha Scott. However, just before the ceremony, O'Keefe is told that his new ditsy mother-in-law (Billie Burke) has just lost her entire fortune. So, with the help of his rather larcenous father, O'Keefe spends most of his 48-hour leave racing about town to win back Burke's fortune. It's all very frantic and some of the comedy works well and some falls a bit flat. However, if you don't mind the occasional lulls, the overall film is lively and fun. I particularly was fascinated by the final scene--as it is both bad and wildly creative at the same time! As far as the acting goes, Adolph Menjou was nice as was O'Keefe. I do wish that Burke had tried something other than her usual ditz role, however, as after a lot of similar roles it was wearing a bit thin. Overall, it's worth a look.

HI DIDDLE DIDDLE is one of those pictures that, because it has fallen into public domain, is almost always seen in dreadful dupe prints. Well, don't let that dissuade you from seeing this picture. It is one of the fastest-paced, downright hilarious comedies of the early 40's. The combination of sharp dialogue and impeccable characterizations make this a real winner. Here is Dennis O'Keefe at his farceur best. He's a sailor-on-leave-bridegroom who spends his wedding night doing everything EXCEPT what he's supposed to be doing. Adolph Menjou is his pop, a conniver (not Connover this time!) who pledges to help Dennis' mom-in-law, dizzy Billie Burke, regain her fortune. Menjou is married to Pola Negri, a domineering Wagnerian opera singer. June Havoc is a lady friend of Menjou's and is she hot! They're all a riot. One of my favorite bits is when waiter Joe Devlin, taking Billie's order at a night club, does a double take and walks away. Billie exclaims - "He did a double take - just like in the movies!" Then Billie, Martha Scott (the bride), Walter Kingsford and Barton Hepburn all proceed to practice doing double takes. Devlin gets a gander at this and does - A DOUBLE TAKE! A wonderful musical moment is June Havoc singing alongside herself in a Panaogram Soundie machine. Composer Richard Hageman, who also appears in director Andrew Stone's SENSATIONS OF 1945, does a very wry bit as a brokerage firm president.If you need a laugh - see HI DIDDLE DIDDLE by any and all means!