We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
£•**
Practically next door at Hal Roach's another follow-up on a former hit is before the cameras. "Topper Takes a Trip," with the old cast complete except for Cary Grant, is reviving the fantastic comedy antics of Roland Young, Constance Bennett, Billie Burke and all, under the Norman McLeod sly touch that made "Topper" so much fun.
If anything, "Topper Takes a Trip" will be twice as insane as "Topper." Where "Topper" had forty special spooky effects of vanishings and rematerializations, the sequel ups it to eighty. People fade away and come back to life with the greatest of ease as poor, henpecked Roland Young fights a Paris divorce suit and gets enmeshed in the connivings of Continental slickers. Even "Asta," the wire-haired terrier, retitled "Skippy" for this, floats about in the void as an ethereal canine conscience. You'll have to see it to appreciate it.
Aside from the metaphysical aspects, the most amazing thing to us about the second "Topper" is that Cary Grant appears in it for two hundred feet and no pay, something unheard of in Hollywood. It seems that to get the picture off in some semblance of chronological sense, a flashback of the first part, where Cary and Connie meet their dooms, was needed.
Since he was much too busy to make it, Cary readily agreed to Roach's clipping out a few feet of the old picture and splicing them in — and no extra charge.
The back lot of Roach's is a hot but realistic Paris boulevard the morning we hurdle sound cables and switch boxes to a spot behind the camera. Roland Young very sensibly sits with Alan Mowbray under a sidewalk awning dipping in a carton of ice cream and ignores any such foolish activity. Everyone else is dripping perspiration, but Roland, in buttoned coat and vest, and woolen socks, focuses his monocle on the morning paper, cool as a Brown Derby parfait. When Connie Bennett strolls up, in dark glasses, he rises, says, "Oh, hello." She nods and passes on.
It's a symphony in sang-froid or something.
Even though it is just make-believe for "The Shining Hour," Melvyn Douglas and Joan Crawford have the usual "wedding-bell jitters" which most actors experience before this scene is shot
55