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HISTORY

The working title of this film was The Professor Goes Wild . A HR news item includes actress Diana Barrymore in the cast, but she did not appear in the film. Early HR production charts list William Alton as the film's director of photography, though later charts and onscreen credits list Paul Ivano in that position. The copyright records list Paul Landres as the film editor, though contemporary reviews and onscreen credits list Fred R. Feitshans in that ... More Less

The working title of this film was The Professor Goes Wild . A HR news item includes actress Diana Barrymore in the cast, but she did not appear in the film. Early HR production charts list William Alton as the film's director of photography, though later charts and onscreen credits list Paul Ivano in that position. The copyright records list Paul Landres as the film editor, though contemporary reviews and onscreen credits list Fred R. Feitshans in that position. More Less

BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
Box Office
11 Dec 1943.
---
Daily Variety
3 Dec 43
p. 3.
Film Daily
7 Dec 43
p. 8.
Hollywood Reporter
22 Jul 43
p. 3.
Hollywood Reporter
23 Jul 43
p. 9.
Hollywood Reporter
28 Jul 43
p. 6.
Hollywood Reporter
3 Dec 43
p. 4.
Motion Picture Herald Product Digest
20 Nov 43
p. 1635.
Motion Picture Herald Product Digest
11 Dec 43
p. 1665.
Variety
8 Dec 43
p. 8.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Exec prod
Assoc prod
WRITER
Orig scr, Orig scr
PHOTOGRAPHY
Dir of photog
Dir of photog
FILM EDITORS
Film ed
COSTUMES
Gowns
MUSIC
Mus dir
SOUND
Dir of sd
[Sd] tech
DANCE
Dances staged by
SOURCES
SONGS
"Closer and Closer," words and music by Mitchell Parish and Harry Woods
"Aint You Got No Time for Love?" words and music by Lottie Wells and Maurice Wells
"Do I Know What I'm Doing?" words and music by Joan Costello and Freddie Stewart.
DETAILS
Alternate Title:
The Professor Goes Wild
Release Date:
10 December 1943
Production Date:
21 July--early August 1943
Copyright Claimant:
Universal Pictures Co., inc.
Copyright Date:
12 November 1943
Copyright Number:
LP12364
Physical Properties:
Sound
Western Electric Recording
Black and White
Duration(in mins):
60
Length(in reels):
6
Country:
United States
SYNOPSIS

Spendthrift heiress Eileen Crane complains to Bradford Crane, her uncle and attorney, about Michael Reed, the lawyer in charge of her inheritance. When Michael arrives in her uncle's office, Eileen threatens to get married, as that is the only way she can gain full control of her money. Later, Michael gets his old college chum, Phil Norwin, a job at Crane and Crane, even though he knows that Phil is a notorious playboy. Phil's eyes quickly stray from work to Eileen, and he ignores Michael's warnings that they will both be fired if he continues to pursue Eileen. Bradford is very anxious for Michael to become his nephew-in-law, though neither Michael nor Eileen has any interest in the other. When Michael learns that Phil has been spending his afternoons drinking with Eileen, he sends for Phil's old girl friend, singer Jan Lawton, to break up the couple. Jan arrives in New York thinking that she has been booked in a nightclub, and becomes upset when she learns of Michael's true intentions. Michael then offers to make it up to her, and pays his client, nightclub manager Acton, $100 a week to hire Jan. Jan is so grateful for the singing job that she agrees to help Michael break up Phil and Eileen. At the same time, however, Phil and Eileen proclaim their love for each other and become engaged. That night, Michael takes the couple to Acton's nightclub, where Jan kisses Phil in front of Eileen. Backstage, Phil tells Jan that he and Eileen are truly in love, and Jan agrees to straighten things out with his fiancée. Meanwhile, Michael takes Eileen ... +


Spendthrift heiress Eileen Crane complains to Bradford Crane, her uncle and attorney, about Michael Reed, the lawyer in charge of her inheritance. When Michael arrives in her uncle's office, Eileen threatens to get married, as that is the only way she can gain full control of her money. Later, Michael gets his old college chum, Phil Norwin, a job at Crane and Crane, even though he knows that Phil is a notorious playboy. Phil's eyes quickly stray from work to Eileen, and he ignores Michael's warnings that they will both be fired if he continues to pursue Eileen. Bradford is very anxious for Michael to become his nephew-in-law, though neither Michael nor Eileen has any interest in the other. When Michael learns that Phil has been spending his afternoons drinking with Eileen, he sends for Phil's old girl friend, singer Jan Lawton, to break up the couple. Jan arrives in New York thinking that she has been booked in a nightclub, and becomes upset when she learns of Michael's true intentions. Michael then offers to make it up to her, and pays his client, nightclub manager Acton, $100 a week to hire Jan. Jan is so grateful for the singing job that she agrees to help Michael break up Phil and Eileen. At the same time, however, Phil and Eileen proclaim their love for each other and become engaged. That night, Michael takes the couple to Acton's nightclub, where Jan kisses Phil in front of Eileen. Backstage, Phil tells Jan that he and Eileen are truly in love, and Jan agrees to straighten things out with his fiancée. Meanwhile, Michael takes Eileen home and soon finds himself engaged to the rebounding heiress. The next morning, Jan tries to explain things to Eileen, but the two end up in a fistfight. Later, Acton signs Jan to a contract, then tells her about Michael and Eileen's engagement. The singer confronts Michael at his office, and he, in turn, proposes to her. Eileen and Phil then arrive, and the two couples finally straighten things out. When Bradford enters and learns that Eileen is actually engaged to Phil, he threatens to fire both lawyers, but they manage to force him to offer them partnerships in the firm. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.