This forgotten screwball comedy is overlooked because of a certain dance partner that Ms. Rogers was dancing with at the same time, taking her to the top of the box-office charts. Here, she plays a paranoid movie star who disguises herself with over-sized buck teeth, a dark wig and glasses to hide from the public. You can't hide beauty, however, and it is easy to spot that this disguise is a phony. It doesn't take long for people-shy bird watcher George Brent to find out her true identity when he agrees to take her to his cabin in the mountains for a rest. Brent, the popular leading man of practically every leading lady of the 1930's and 40's, is always likable, if not remarkable. Yet, his list of leading ladies consists of women so popular all you need to hear is their last names to know exactly who they are: Stanwyck, Davis, Francis, Oberon, Blondell, Colbert, Arthur, Loy, and Sheridan, to name just a few. Rogers shows great comic spunk here, finally an "A" star after several years of "B" leads and supporting roles in "A's" like "42nd Street' and "Gold Diggers of 1933". She proves she doesn't need that dancer named Mr. Astaire to hold onto a movie, and gets Astaire's choreographer, to handle her one dance number where she uses strings to hold onto each of the male dancers she moves around a nightclub set with.The storyline is a bit preposterous, typical for many screwball comedies of the mid 30's, but fun. Alan Mowbray is the hammy movie star meant to represent Rogers' leading man (overstuffed and full of himself). The songs by Dorothy Fields and Oscar Levant are adequate, but the musical numbers is one of Ginger's best sans Fred, even without high heels or moving backwards.

Ginger Rogers stars in this screwball comedy from RKO about a Hollywood actress, who after a recent nervous breakdown, tries to get away from it all at a wilderness retreat. She attempts to recover with the help of suave and charming George Brent (on loan from Warners).Some of the humorous ideas in the script come across very well. Take, for instance, one scene where the heroine has become rather annoyed with the guy's less-than-successful attempts to romance her. She throws her hands up and looks at him contemptuously. Out of frustration, he asks what she wants him to do, and she tells him to go climb a tree. He then asks what tree in particular, and she says THAT tree, pointing to one off-camera. In the very next shot, he is actually up in a tree when she calls him in for dinner!However, it is always a bit surreal to watch an actress play an actress. Perhaps it does require more than the usual suspension of disbelief to accept that her neurosis would be so easily solved by forging a relationship with a rugged outdoors man. It probably helps that the role was cast with George Brent, instead of Fred Astaire, the studio's original choice. Indeed, having Astaire play a backwoods brute with curative powers may have been even more a stretch.Regarding Mr. Brent, specifically, he is just like he appears in countless other movies. In this one, he projects both awkwardness and sexiness. His performance seems to rely on a limited but likable bag of tricks that he has used to great effect in many pictures. As for Ms. Rogers, there's a timeless quality about the way she projects both insanity and peace.

I've always wanted to see this movie, because it contains two extremely obscure and fabulous songs, "Don't Mention Love To Me" and "Out Of Sight, Out Of Mind", written for this film by Oscar Lavant and Dorothy Fields. There's a 1935 Brunswick 78 by Kay Thompson of these two rare tunes, and they're just about as good as any songs of the depression era.I finally got a VHS of this rather rare movie, and I was floored by how wonderfully mediocre it is. It moves at a fast pace and the acting is just fine. The screenplay is more than a bit silly.If I have a vote, I would get Warner Bros to include this in a Ginger Rogers DVD collection.It's absolutely a worthwhile film to watch and own.

The funniest thing about this movie is Ginger Rogers' disguise: buck teeth and glasses, reminding me of Jerry Lewis in The Nutty Professor (1963). She's a famous actress who got a bad case of agoraphobia when she was mobbed by adoring fans. To get away, she practically invites herself to go with George Brent to a mountain cabin retreat after she overhears that he was going there. Once there the comedy is predictable and routine. You do get to hear Rogers sing three songs and do a neat tap dance, all very enjoyable, but not enough to make up for the flat script.