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This comedy has about 15 mins of charming banter between Myrna Loy and Robert Taylor. For a time, she displays some of the same light-hearted romping spirit that made her popular in the Thin Boy movies. But the plot, which is silly to start with (heiress decides to create it on her own, leaves wealthy home, meets a bum and they gamble and sweet talk their method into nice fun), takes a somewhat dramatic ("is that all there is") turn in the end.Actually, for 1939, the script identifies a cute mature marital conflict: she longs for safety and he longs for the spontaneous, irresponsible thrills that made them fall in love in the first place. How do you compromise? Well, after raising the question, this film sure doesn't say us! It could have stuck to the levity and the lunacy. Still, if you're a fanatic of Taylor or Loy, it's worth 90 mins of your time.
Lucky Night gets off to a roaring start, with Loy and Taylor tearing up the city and obviously having a ball together. There's nice chemistry and the cases they receive themselves into are a lot of fun to watch. For awhile I was really thinking this film was going to turn out to be an underrated and little-known gem.Unfortunately, when the pair sober up the next morning, the storyline goes off the rails and becomes a dreary, incoherent mess. Taylor's hero keeps rambling about how he has some "idea" about what life could be, but he can't articulate what he means. The dialogue now becomes so bizarre at times that I wondered if the writer was all there.This one is worth checking out if you're a fanatic of Loy -- she's everytime a pleasure to watch -- but if you begin to receive antsy halfway through, change the channel. You won't be missing anything.
Schizophrenic writing dominates "Lucky Night," a 1939 movie starring Robert Taylor and Myrna Loy. Loy is Cora, an heiress who gives it all up for the excitement of looking for a job and living on her own; she meets up with unemployed and flat broke Dick (Taylor). The two of them embark on a wild night of gambling and winning, where everything they touch turns to gold. Cute later they're in love and, to the horror of Loy's father, tie the knot.This movie begins out like gangbusters, like a lost treasure - a fast- paced, deft comedy with unbelievable dialogue and the two Golden Age stars testing off of every another beautifully. Suddenly, it all stops and gets very serious with bizarre dialogue. Cora wants to be secure and satisfied with home and hearth; Dick still craves the excitement. She leaves him.The movie picks up a tiny toward the end, but what a disappointment. Perhaps the marital trouble story would have been fine, but not after the method this movie started; it's too much of a let-down. Not only that, but Taylor's hero begins talking in absolute riddles. Somebody at MGM was asleep at the wheel. This is the kind of thing that under Thalberg would never have been released as it was.Like Tyrone Power, Taylor gets short shrift in his acting because of those nice looks, but jealous critics (mostly boys probably) failed to notice that, like Power, he had a beautiful, rich speaking voice and loads of charm. Less ambitious and less complicated than Power, Taylor cute much took what MGM handed him. "Lucky Night" is one example. Despite the script, he shows his affinity for comedy. Loy is lovely as the heiress, but thankfully, both these actors appeared in better films."Lucky Night" coulda been a contender; instead, it's that rarity in movie history - a terrible film from the magic year 1939.
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