The names of Adolphe Menjou and Pola Negri in the cast might lead you to expect the date of this film to be 1923 rather than 1943 (and the two did in fact make a couple of films together that year), but this is actually a relatively late screwball comedy with an on-form once-in-a-lifetime cast (although Denis O'Keefe rather strains credibility as Menjou's son).Billed third, Negri, who was then 46 and hadn't made a film in Hollywood for over ten years (her next and final film was Disney's 'The Moonspinners' twenty years later) actually has a relatively small role as Menjou's wife, but looks great (along with Martha Scott and Billie Burke she sweeps about in a succession of fabulous creations by Adrian) and one gets a rare chance to hear what she actually sounded like. We first meet her singing the Ride of the Valkyries, and Wagner - whose music one character says "had some beautiful moments but some ugly half hours" - is later the victim of a priceless sight gag. The best performance as usual is by Menjou, but right down to the bit players the cast all seem to be enjoying themselves (including veteran composer & musical director Richard Hageman unexpectedly playing the small part of a company director).The same year as he made the all-black musical 'Stormy Weather' the always surprising independent producer-director Andrew L. Stone here shows early evidence of the good naturedness and flair for organising complicated story lines that found full flower in his later thrillers; and this may be his only film to receive an Oscar nomination (for Phil Boutelje's score). Frederick Jackson's screenplay crackles with saucy throwaways and there are some sublime breaches of the fourth wall, including a couple of animated inserts by Friz Freleng.

This period in American movies saw such delights as "Hellzapoppin". Here the actors bring to attention that they are playing in a film. They make faces at the audience, wallpaper comes alive, there is a woman who keeps popping up in scenes where she isn't even acting. The dialog and the plot move lightning fast and there's no time at all to waste in this pleasant and often hilarious comedy. There's a wedding reception before the wedding, fortunes earned and lost in a space of minutes, a married couple disunited throughout. What's not to like? This film has been in public domain and has been copied, often badly and on stock of poor quality, so viewer beware...

Sonny Phyffe (Dennis O'Keefe), a sailor with a conquest in every port, is three hours late to his wedding to Janie Prescott (Martha Scott), whose mother is the very wealthy and scatterbrained Liza Prescott (Billie Burke). Liza harbors doubts about Sonny's sincerity. Sonny is anxious about the wedding because he only has two days ashore before he has to report back to his ship. But minutes before the wedding Mrs. Prescott confesses that she has lost her fortune, swindled out of it by a high society clot who is determined to wed Janie himself. But now that sly old scoundrel, Col. Hector Phyffe (Adolphe Menjou), who is Sonny's father, steps forward and says he'll put things right. All he needs is a few hours. The Colonel, however, is married to the opera diva Genya Smetana (Pola Negri). He hasn't a dime of his own. She keeps him on a short lease. He must do what he does best, come up with a series of improbable schemes and stratagems to replace Mrs. Prescott's fortune. All the while the clock is ticking. Will the Colonel somehow find a way to get back Liza Prescott's money? Will Liza with her ditzy behavior make things better or worse? Will Sonny and Janie work their way through this maze of mix-ups and into bed before Sonny has to leave? Will there at last be a consummation devoutly to be wished, especially by Sonny and Janie. If this sounds like screwball comedy, it tries hard to be and sometimes succeeds. Menjou keeps the wheels spinning. Burke's character may not be as flighty as Billie Burke. Pola Negri, a great silent star, at 49 is stunning. She could easily pass as Hedy Lamar's slightly older sister. June Havoc has a funny featured role and a couple of songs. What Hi Diddle Diddle really has going for it is a clever twist that is well disguised and two accomplished actors who were right at home with light comedy, Adolphe Menjou and Dennis O'Keefe. Menjou was never better than playing a man of the world who has seen all the tricks and mastered most of them himself. He moved from a major leading man in the silents (A Woman of Paris, 1923) to a master portrayer of amusing rogues, charlatans, fathers and lawyers. He was at his best as the shyster lawyer Billy Flynn in Roxie Hart, 1942. As an old man he still knew what he was doing. His portrayal of Mr. Pendergast, an irascible recluse in Pollyanna, 1960, is touching, amusing and believable. I doubt if there was ever a Hollywood leading man, other than Cary Grant, who was as good at light comedy as Dennis O'Keefe. He paid his dues in countless unbilled bits in the Thirties, moved up to second billings and then lead roles in the Forties and early Fifties, but was never able to establish himself in big A movies. He was a tall, handsome guy who could play puzzled bumpkins, tough G-men, doomed noir heroes and nice guys. If you have the time, watch him in these: As Jerry Manning in The Leopard Man, 1943; as Monty Brewster in Brewster's Millions, 1945; as Joe Sullivan in Raw Deal, 1948; as Sam Donovan in Cover Up, 1949; and as Danny Leggett in Woman on the Run, 1950.

This film is notable for the presence of Miss Pola Negri, a favorite actress of mine. She was better known for her early German silent films. I think this film is great fun and highly amusing. Good family entertainment