Harockerce What a beautiful movie!

Ploydsge just watch it!

WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Sabah Hensley This is a dark and sometimes deeply uncomfortable drama

JohnHowardReid Copyright 11 December 1936 by Universal Pictures Co., Inc. New York opening at the Roxy: 24 January 1937. U.S. release: December 1936. 84 minutes. SYNOPSIS: Three wealthy, spoilt teenage girls decide to wreck the forthcoming marriage of their estranged father (a New York banker) to a beautiful socialite. NOTES: Sequels are Three Smart Girls Grow Up (1939) and Hers To Hold (1943). Nominated for three prestigious Hollywood awards: Best Picture, Best Original Screenplay and Best Sound Recording.COMMENT: Pleasant enough if rather facile entertainment, no great shakes in the writing department, though it is enlivened by Binnie Barnes, Alice Brady, Mischa Auer and Ray Milland, who have all the best lines. Winninger stumbles through his poorly written part as best he can, while newcomer Durbin usurps center stage. Her fans will be disappointed she has only three songs, of which only "Il Bacio" is handsomely recorded, so perhaps it's just as well. Koster's direction is smooth but not in the least involving. As usual, he relies on his players to do all the work. Production values are otherwise up to scratch. In fact, much of the photography is rather attractive.

whpratt1 This film is so old I never realized how young looking Ray Milland looked in 1936, I remember him playing in a great film, "Lost Weekend". Ray plays the role of Michael Stuart, who is a very rich banker. There are three girls in this picture who are not very happy about their father and mother separating and they find out their father is going to get married to a young blonde who is a gold digger only looking for a rich sugar daddy. They hire a man to pose as a very rich Count, his name is Count Ariszted, (Misha Auer) who is drunk all the time and is penniless and gives plenty of comic laughs throughout the picture. Deanna Durbin, (Penny Craig) surprised everyone when she was booked in a police station and told the chief of police that she was an opera star and then Penny starts singing with the most fantastic soprano voice I have every heard, the entire police department and convicts started applauding, which was a very entertaining and enjoyable scene from this film. This is Deanna Durbin's first film debut and she became an instant success over night and went on to become a great movie star with Universal Studios after leaving MGM.

edwagreen Ridiculous fanfare with the usually reliable Charles Winninger in the lead role as a successful banker who has been divorced for 10 years and is now set to remarry a gold-digger played listlessly by Binnie Barnes. The real schemer here is Alice Brady, who plays Barnes's mother and is perfect for the part.The film though did serve its star Deanna Durbin with the golden opportunity to sing and sing she does quite well. As her made, Lucile Watson, who played outstanding supporting mother roles in the 1940s, is terribly miscast here.Of course, the 3 sisters come to America from Switzerland to sabotage dad from remarrying. The film never bothers to mention why Winninger had divorced his wife to begin with. Hoping to get Barnes to fall for a fake nobleman, Mischa Auer, the latter is soon confused with the dashing Ray Milland and some funny sketches ensue.In the end, everyone gets what's coming to them except the audience who paid to see this film.

amybeckberger Henry Koster's film is a seamless classical hollywood goal-driven narrative with elements of a musical, romantic comedy and layers of mistaken identity, all accelerated to a final climax and resolution by the interjection of a temporal goal deadline within the film. Deanna Durbin serves as the focal character of the three sisters, all working together to attain one common goal – to break up their estranged father's engagement and to reunite him with their mother. While the sisters work as a united front to achieve their goal, each is developed, in part, using the playful bicker that invariably accompanies the sisters' interactions.This film is also a romantic comedy filmed in the `sophisticated world of the social aristocracy'(1). True to the roots of the big studio Romantic comedies of the 1930's and 40's, this film features lavish settings of wealth and prestige providing an escape, however brief, for movie goers from the depression. The film opens with a display of wealth by depicting the comfortable lifestyle that the girls enjoy with their mother in Europe. During this opening scene in which the sisters are outside on their sailboa t with Durbin singing, merrily sailing down a stream near their home. The narrative goal is set soon after this opening sequence when the sisters are called in for lunch by a housekeeper. Once inside, they discover that their father is to marry a famous glamor girl in the US. Fueled by the desire to quell their mother's sorrow, the girls set off to America to win over their father by turning him away from his pending marriage and stealthily persuading him to return to their mother. Upon their arrival the sisters discover the difficulty of their goal; the fiancee and her mother are aware of the girl's meddling ways and are determined to frustrate the girls attempts at intervention.The bulk of the film is filled with trials and tribulations that both frustrate the girl's goals as well as push them closer to completing their objectives in unplanned ways. The dichotomy of wealth and worth is represented in many ways in this film. Class, social status and money play a pivotal role in the nuances of the plot as the sisters try to get the fiancee to `latch on' to another man who has a title and more wealth. The gold digging nature of the fiancee is pivotal in the many efforts used by the sisters to break the engagement. It is obvious that the engagement is not based on love, which further leads the viewer to root for the girls successful intervention. The fiancee's determination to marry into wealth eventually serves as the key to the girl's success, however unexpectedly, and simultaneously thwarts her own opportunities at such a marriage.The sisters form a powerful team within which each has a very different personality. Each tactic they employ to break up the engagement begins to be thwarted by the romantic entanglements of the 2 older sisters with two of the men they are using to manipulate the fiancee, effectively twisting the plot in on itself many time during the film and providing ample barbing dialogue between the 2 courting couples. (Durbin's character is only 14 years old, so the romantic comedy portions of the film take place in the other characters relations with each other.)Throughout the film, Durbin is asserted as the main character through long, close-up voice solos that solidify her role as the central character. These musical interludes serve also as plot devices to win over adoration and support from her listeners within the film (as well as the audience), bringing her closer to her goals. In a classic use of editing to tell a story, the emotional effect of her voice on other characters is clearly implied using an editing style that switches between an extreme close-up of the singing Durbin and an equally extreme close-up of the expressions of her captivated listeners(1). These interludes also showcase the sound quality of the film The lack of background noise and the clarity and range of her singing voice are used to draw out emotion in the viewer as they get to know more intimately this young character they are rooting for so firmly. The sense of temporal urgency takes hold of the film when the wedding date is suddenly rescheduled for the following day by the sly fiancee and her mother in order to outwit the girls' schemes. This plot twist serves to shift the narrative from goal based to urgently time focused(1). The girls are forced to call on all of the contacts they've made (with a big dose of luck) to succeed in the end. With this shift to a frantic countdown in plot action, the film becomes very compelling, with the outcome uncertain until the very end. The narrative reaches resolution when, in the final scene, the mother arrives from overseas and is greeted by her triumphant daughters and her ex-husband. Although the success of this meeting is far from assured, the development of the daughter's characters as intelligent, persuasive, and strong willed almost convinces the audience of a successful reunion. (1) "American Cinema/American Culture" John Belton, 1994.