Matialth Good concept, poorly executed.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

kidboots In a Film In Review article Ann Sothern was very reticent about her early screen work ("Hold Everything", "Whoopee") - MGM signed her to a contract under her real name of Harriet Lake but she only made one movie for them - "Doughboys" (1930) and was then dropped. Columbia signed her to a contract in the mid thirties and she made a series of light hearted programmers with co-stars such as Edmund Lowe and Gene Raymond. Even though Harry Cohn often boasted that by changing Harriet Lake's name to Ann Sothern he had made her a star, Columbia didn't really seem interested in promoting her and it was up to MGM to come up trumps with "Maisie".Kitty (Sothern) is the bread winner of her improvident family - as well as keeper of the peace and advice dispenser and she is getting pretty fed up with it. Especially her full of beans boyfriend Bill (I have never seen Paul Kelly so animated before)!! who puts work before romance!! When he stands her up on her birthday she listens to her friend and goes on a blind date where she meets debonair Bob Hartwell (Neil Hamilton). She starts to live the high life when he gets her a job as a model in his department store but when she dismisses his cave man tactics she suddenly finds herself out of a job. Of course the thing is, Bob is completely in the dark about things - his father has sacked her during cutbacks but requests the news be kept from his son. Bob goes on a cruise with his mother, not knowing that Kitty is desperately looking for a job. Bill comes to the rescue with a job for her father and the pressure is now on for Kitty to patch things up with Bill - even though she doesn't love him.Bob comes back but Kitty is determined to stick by Bill - he has been involved in an awful accident at work - courtesy of Kitty's father and a blow torch!!! Flora (Joan Gale), Kitty's sister over hears Kitty and Bob's tearful parting and wants to make it right for them. This is a really nice way to pass an afternoon with the "little" actors you get to know if you watch enough old movies. Matinée idol Neil Hamilton, most people know him from the Batman TV show as Commissioner Gordon but he had a huge career starting in the 1920s - he was a D.W. Griffith discovery. Mickey Rooney showed that even during his awkward age there were always roles to be had!!!

mountainkath This was a strange movie, but I did enjoy it. My Tivo billed it as a comedy, but there were some quite dramatic elements, too. (Most notably, the car falling on Bill.) I thought I had this movie figured out (Kitty would do the right thing and marry Bill and then realize that he was really the one she loved all along).I really liked the twists thrown in at the end. (Bob buying Bill's shop to give Bill and Kitty money and then Bill being a jerk in order to reveal Kitty's true feelings.) However, all of it kind of fell flat for me. Ann Sothern didn't have chemistry with either of her leading men. I just couldn't believe that she would date (let alone consider marrying) either one of them. One reason I love classic movies is seeing the fashion and cars of days gone by. Blind Date did not disappoint in this regard. Sothern's dresses were all quite stunning, although a bit fancy for a working girl (specifically the dresses worn before she met Bob). While I enjoyed this movie, it would have been much better with some chemistry between the leading lady and her leading men. The script and supporting actors were solid, it was just the leading roles that could have been better cast.

ksf-2 "Blind Date" is one of three stories-made-into-movie by author Vida Hurst. Lots of familiar faces in this oldie from 1934. Mickey Rooney as a mouthy little punk. He seems to be in the film for comedic and homey "family values". Jane Darwell again plays the strong-willed mother, just as she had in Grapes of Wrath and the Oxbow Incident. Ann Sothern is Kitty, who has been dating Bill (Paul Kelly), but meets up with rich Bob Hartwell, played by Neil Hamilton, who may or may not be better for her. You can certainly tell that this was made at the very beginning of the Hays production code -- at one point, Kitty says she can't be up there alone with him if there isn't anyone else in the house...what a change from just a year or two prior, when anything and everything was OK. Good solid plot, but a whole lot of conversation and mushy love talk. It raises the question over what a girl should be searching for in a man; should she hold out for a man with integrity who treats her nice, or just find a man with big bucks, as most of the movies from the previous 20 years had advocated...? and how do men change when their situation changes ? watch out for some violence in the strange dance marathon scene. TV viewers from the 1960s will recognize Hamilton as Commissioner Gordon from Batman..... Also some weird drama in the off-screen lives for some of the cast in this one --Paul Kelly had gone to jail for being accessory to murder in a love triangle. Mickey Rooney had an affair with Norma Shearer, who was 20 years older; Rooney ended up being married eight times. Tyler Brooke (Emory) and Spencer Charters (Pa) both knocked themselves off in real life. The title "Blind Date" has been reused many times, for films, TV series, and even cartoons, but none of them seem to have the same plot as this one.

boblipton A mild but decent low-class soaper, well directed by under-rated B director Roy William Neill -- best remembered, these days, for the Sherlock Holmes series starring Rathbone and Bruce that he directed a decade later. There is a spiffy cast in this piece and they give good performances.It is interesting to compare this Columbia Picture with its Pre-Code contemporaries from the majors and contrast its constant moral tone with the sexier stuff produced by, say, Lubitsch at Paramount. Part of the reason, doubtless, is that a minor studio like Columbia didn't have leverage against the increasingly powerful Production Code that would swamp the sex comedy even at the Majors by the end of the year. But the most of it, I don't doubt, is that the Majors had an eye on the big cities and European markets, while Columbia still was concentrating on the smaller US cities and rural markets.