The Luckiest Girl in the World (1936)

69,72 or 75 mins | Romance | 15 November 1936

Director:

Eddie Buzzell

Cinematographer:

Merritt Gerstad

Editor:

Dorothy Spencer

Production Designer:

Jack Otterson

Production Company:

Universal Pictures Corp.
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HISTORY

Copyright records lists Herman Heller as music director, although reviews list Charles Previn. According to HR, Dorothy Spencer was one of few women editors working at the time this film was made and the first to work at Universal in several years. ...

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Copyright records lists Herman Heller as music director, although reviews list Charles Previn. According to HR, Dorothy Spencer was one of few women editors working at the time this film was made and the first to work at Universal in several years.

Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
19 Oct 1936
p. 3
The Exhibitor
1-Nov-36
---
Film Daily
22 Oct 1936
p. 13
Hollywood Reporter
4 Aug 1936
p. 2
Hollywood Reporter
10 Oct 1936
p. 3
Motion Picture Daily
20 Oct 1936
p. 12
Motion Picture Herald
3 Oct 1936
p. 35
Motion Picture Herald
31 Oct 1936
p. 44
New York Times
5 Dec 1936
p. 16
Variety
9 Dec 1936
p. 12
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Eddie Buzzell
Dir
Asst dir
2nd asst dir
PRODUCERS
Exec prod
Assoc prod
WRITERS
Lewis Foster
Contr wrt
Contr wrt
Contr wrt
PHOTOGRAPHY
Asst cam
ART DIRECTORS
Art dir
Loren Patrick
Art dir assoc
FILM EDITOR
Film ed
MUSIC
Mus dir
Mus dir
SOUND
Sd supv
VISUAL EFFECTS
Spec eff
SOURCES
LITERARY
Based on the short story "Kitchen Privileges" by Anne Jordan in Ladies' Home Journal (Sep 1935).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
15 November 1936
Production Date:
12 Aug--10 Sep 1936
Copyright Info
Claimant
Date
Copyright Number
Universal Pictures Corp.
2 November 1936
LP6684
Physical Properties:
Sound
Black and White
Duration(in mins):
69,72 or 75
Length(in reels):
8
Country:
United States
PCA No:
2671
SYNOPSIS

Debutante Pat Duncan wants to marry amateur tennis player Percy Mayhew, who makes $150 per week selling insurance. Her father Campbell, however, is against the match, but makes a deal with Pat to let her marry Percy if she can live for a month in New York on his salary. In a Manhattan walk-up apartment, Pat shares a third-floor kitchen and bath with the whimsical Anthony McClellan, who works on Wall Street. Campbell's hired bodyguard, the genial roughneck, Dugan, keeps watch over Pat. Anthony falls in love with Pat and, unaware that she is wealthy, proposes to her, planning to support her on his $200-a-month salary. At the end of the month, when Anthony and Pat are broke, they win a prize at a movie theater bank night that tides them over. Meanwhile, Anthony learns Pat is rich and fears she will leave him. After Pat is called home for some "news" and learns that Percy has married into a wealthy family, she returns to Manhattan and accepts Anthony's ...

More Less

Debutante Pat Duncan wants to marry amateur tennis player Percy Mayhew, who makes $150 per week selling insurance. Her father Campbell, however, is against the match, but makes a deal with Pat to let her marry Percy if she can live for a month in New York on his salary. In a Manhattan walk-up apartment, Pat shares a third-floor kitchen and bath with the whimsical Anthony McClellan, who works on Wall Street. Campbell's hired bodyguard, the genial roughneck, Dugan, keeps watch over Pat. Anthony falls in love with Pat and, unaware that she is wealthy, proposes to her, planning to support her on his $200-a-month salary. At the end of the month, when Anthony and Pat are broke, they win a prize at a movie theater bank night that tides them over. Meanwhile, Anthony learns Pat is rich and fears she will leave him. After Pat is called home for some "news" and learns that Percy has married into a wealthy family, she returns to Manhattan and accepts Anthony's proposal.

Less

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.