A Desperate Adventure (1938)

65 mins | Comedy-drama | 15 August 1938

Director:

John H. Auer

Writer:

Barry Trivers

Cinematographer:

Jack Marta

Editor:

Ernest Nims

Production Designer:

John Victor Mackay

Production Company:

Republic Pictures Corp.
Full page view
HISTORY

Pre-release titles for the film were It Happened in Paris, As You Are and A Romantic Age. A HR news item stated that M. Coates Webster was writing the film's script based on an original story by Albert J. Cohen. No other information about Cohen's involvement has been found, however. A letter from Republic Pictures contained in the AMPAS library file on the film, dated 6 Jul 1938, noted that a song written by Eddie Cherkose and Alberto Colombo had been eliminated from the picture and dictated that their names should be removed from the film's credits. Colombo, who had been in charge of the music department at Republic, left the studio in late Jun 1938 to go to Columbia Pictures. Another letter in the file from Republic, dated 12 Jul 1938, requested an amended screenplay credit to include James Gow and Edmund North 's names after Trivers, but was apparently overruled by a hand-written notation in the margin stating "destroy this letter and revert to original credits." SAB does not mention Gow or North, and it is not known whether the 12 Jul letter was written in error, or whether there was a dispute at some point over screenplay credits. Although Margaret Tallichet's onscreen credit read, "and introducing Margaret Tallichet," an article on new stars in MPH in Sep 1937 noted that Tallichet had had a small part in A Star Is Born. She was also included in the cast of The Prisoner of Zenda in early HR production charts. As noted in reviews ...

More Less

Pre-release titles for the film were It Happened in Paris, As You Are and A Romantic Age. A HR news item stated that M. Coates Webster was writing the film's script based on an original story by Albert J. Cohen. No other information about Cohen's involvement has been found, however. A letter from Republic Pictures contained in the AMPAS library file on the film, dated 6 Jul 1938, noted that a song written by Eddie Cherkose and Alberto Colombo had been eliminated from the picture and dictated that their names should be removed from the film's credits. Colombo, who had been in charge of the music department at Republic, left the studio in late Jun 1938 to go to Columbia Pictures. Another letter in the file from Republic, dated 12 Jul 1938, requested an amended screenplay credit to include James Gow and Edmund North 's names after Trivers, but was apparently overruled by a hand-written notation in the margin stating "destroy this letter and revert to original credits." SAB does not mention Gow or North, and it is not known whether the 12 Jul letter was written in error, or whether there was a dispute at some point over screenplay credits. Although Margaret Tallichet's onscreen credit read, "and introducing Margaret Tallichet," an article on new stars in MPH in Sep 1937 noted that Tallichet had had a small part in A Star Is Born. She was also included in the cast of The Prisoner of Zenda in early HR production charts. As noted in reviews for this film, and in news items in trade papers, Tallichet was the first person signed to act in Gone with the Wind (see below). She was to appear as Careen O'Hara, a role which eventually went to Ann Rutherford. The Var review and an MPH article on new stars noted that Tallichet, a former Dallas secretary, was "discovered" by Carole Lombard and was under personal contract to David O. Selznick. She was loaned to Republic for this film. In Oct 1938, Tallichet married director William Wyler, to whom she was married until his death in 1981, and retired from the screen in 1941.

Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
30-Jul-38
---
Daily Variety
22 Jul 1938
p. 3
Film Daily
6 Aug 1938
p. 3
Hollywood Reporter
22 Mar 1937
p. 11
Hollywood Reporter
23 Oct 1937
p. 3
Hollywood Reporter
27 Nov 1937
p. 3
Hollywood Reporter
6 Jun 1938
p. 10
Hollywood Reporter
23 Jun 1938
p. 3
Hollywood Reporter
22 Jul 1938
p. 4
Hollywood Reporter
10 Oct 1938
p. 6
Hollywood Reporter
24 Oct 1938
p. 4
Motion Picture Daily
1 Aug 1938
p. 5
Motion Picture Herald
11 Sep 1937
p. 15
Motion Picture Herald
30 Jul 1938
p. 65
Variety
10 Aug 1938
P. 12
DETAILS
Alternate Titles:
A Romantic Age
As You Are
It Happened in Paris
Release Date:
15 August 1938
Production Date:
14032
Copyright Info
Claimant
Date
Copyright Number
Republic Pictures Corp.
15 August 1938
LP8298
Physical Properties:
Sound
RCA Victor "High Fidelity" Sound System
Black and White
Duration(in mins):
65
Length(in feet):
5,659
Length(in reels):
7
Country:
United States
Language:
English
PCA No:
4415
Passed by NBR:
Yes
SYNOPSIS

Marcel, Maurice and Tipo, friends of French painter and ladies' man Andre Friezan, are astonished by a portrait of a beautiful woman, clad only in a long scarf, which they find hidden in Andre's studio. They plead with Andre to exhibit it, but he refuses, saying that the model is his dream girl and that she does not really exist. Later that night at a costume ball, Andre is stunned to find his dream girl alive in the form of American heiress Ann Carrington. Andre takes her to his studio to show her the portrait and convince her of his love, but they discover that the painting is missing. The next day, Andre's three friends tell him they took his painting to the Dornay art gallery and show him the admiring notices it has received. Andre and his loyal butler Trump rush to the gallery to retrieve the portrait, but Dornay tells him that an American gentleman has already purchased it. After Andre and Trump leave to find the buyer, Ann, her father Cosmo and her sister Betty arrive at the gallery. They are scandalized when they see the portrait, and Cosmo also rushes off to find the buyer. Cosmo discovers that the painting is to be shipped tomorrow to New York, and fearing what Ann's blue-blooded fiancé, Gerald Richards, will think if he sees the painting, Cosmo books passage on the same ship for his family in hopes of finding the buyer when the ship docks. Andre overhears Cosmo's plans and also books passage on the ship. Ann is unhappy to see Andre aboard the ship the next day, but he ...

More Less

Marcel, Maurice and Tipo, friends of French painter and ladies' man Andre Friezan, are astonished by a portrait of a beautiful woman, clad only in a long scarf, which they find hidden in Andre's studio. They plead with Andre to exhibit it, but he refuses, saying that the model is his dream girl and that she does not really exist. Later that night at a costume ball, Andre is stunned to find his dream girl alive in the form of American heiress Ann Carrington. Andre takes her to his studio to show her the portrait and convince her of his love, but they discover that the painting is missing. The next day, Andre's three friends tell him they took his painting to the Dornay art gallery and show him the admiring notices it has received. Andre and his loyal butler Trump rush to the gallery to retrieve the portrait, but Dornay tells him that an American gentleman has already purchased it. After Andre and Trump leave to find the buyer, Ann, her father Cosmo and her sister Betty arrive at the gallery. They are scandalized when they see the portrait, and Cosmo also rushes off to find the buyer. Cosmo discovers that the painting is to be shipped tomorrow to New York, and fearing what Ann's blue-blooded fiancé, Gerald Richards, will think if he sees the painting, Cosmo books passage on the same ship for his family in hopes of finding the buyer when the ship docks. Andre overhears Cosmo's plans and also books passage on the ship. Ann is unhappy to see Andre aboard the ship the next day, but he tries to romance her nonetheless, even questioning Betty, who is attracted to Andre herself, about Ann. Later, Andre disguises himself as a steward and helps Cosmo steal the painting from the hold, but becomes worried when the captain announces that unless the stolen item is returned, all cabins will be searched. Andre talks with Betty, who is falling deeply in love with him, and her beautiful gown gives him an idea. Using Betty as a model, Andre paints a new portrait, identical to the other except that Ann is now wearing Betty's gown. The next afternoon, Andre shows Ann the revised portrait and finally wins her admiration. Soon after, Cosmo, still worried about potential scandal, takes one of the covered paintings from Andre's cabin, and Andre, believing it to be the original, helps him throw it overboard. When they arrive at New York, however, the painting is displayed to the insurance agent guaranteeing it, and they discover they have the original. Ann furiously accuses Andre of being an opportunist, and even Betty calls him a doublecrosser. Soon all is well when the buyer is revealed to be Gerald, who still loves Ann despite her brief shipboard flirtation with Andre. The reunited couple leave after the painting is destroyed, and after Betty forgives Andre, he realizes that she, not Ann, is his dream girl.

Less

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

TOP SEARCHES

Mr. Smith Goes to Washington

According to HR news items, "The Gentleman from Montana" (an unpublished story by Lewis R. Foster, alternately called "The Gentleman from Wyoming" by both contemporary and modern ... >>

Blue Movie

The 25 Jun 1969 Var review noted that Blue Movie was shot in Sep 1968 in New York City. Along with several other contemporary sources, ... >>

Psycho

Actor Vaughn Taylor's surname is misspelled "Tayler" in the onscreen credits. Several Jun and Jul 1959 HR news items erroneously refer to the film as Psyche. ... >>

Fame

       The last name of principal dancer Ranko Yokoyama is misspelled "Yokoyana."
       The film is divided into five acts indicated by title cards stating: “The Auditions,” “Freshman Year,” “Sophomore ... >>

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.