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"Kiss and Make Up"

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"Kiss & Make Up"

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Character's Name: Dr. Maurice Lamar
Release Date:  July 13, 1934
Director: Harlan Thompson
Studio:  Paramount Publix
Running Time: 70 minutes

Cast: Cary Grant (Dr. Maurice Lamar), Genevieve Tobin (Eve Caron), Helen Mack (Anne), Edward Everett Horton (Marcel Caron), Lucien Littlefield (Max Pascal), Mona Maris (Countess Rita), Rafael Storm (Rolando)

- by Zoë Shaw
Lamar owns a beauty salon, which is a haven for women who want to be beautiful. His plain secretary, Anne, is in love with him. Lamar makes Eve (the wife of Marcel Caron) into vision of loveliness, but she is so obsessed with the daily routine to keep herself this way, that he leaves her. She marries Lamar, who soon realizes he has just married a load of cosmetics. He then realizes his true love has been with him all the time, Anne.

- by Debbie Dunlap
Is this a good movie?? No way!! Is it worth taking the time to watch? Definitely!! This movie has so many great lines, that it's well worth the time watching "Kiss and Make Up." An additional incentive is that Cary sings an entire song, twice, in this movie!! Quite a distinctive singing voice, but then his speaking voice compares with none other, either.

Cary Grant is Dr. Maurice Lamar, a world famous, egotistical, Parisian plastic surgeon whose delightful job it is to make women beautiful. "Mother'd like her hips cut down before she sails." He prides himself in making women slaves to their new beauty. No sun, no swimming, "lean ham, plain lettuce, and dry melba toast," lots of exercise and massage. Cold cream every night, all night, on the face and gloves on the hands. Maintenance, always maintenance.

He enjoys the beautiful benefits of the fruits of his labor. Overt innuendo abounds that his patients, once transformed by his skilled hand, become his conquests. His affairs he refers to as "lovely episodes."

Madame Caron is his masterpiece. "You are my creation, you know. When you first came to me you were merely pretty. Little by little, I molded you as Pygmalian molded his statue, until you became my most beautiful achievement."

Edward Everett Horton is Madame Caron's husband. He is NOT pleased with the transformation of his wife. E.E. Horton delivers his lines with wonderful timing, inflection and character. Cary plays the straight man to Horton's disgruntled husband routine several times. Always hilarious.

Dr Lamar: You're Madame Caron's husband?

Mr. Caron: I am, yes, on those rare occasions when you're not messing around with her.

Dr. Lamar: Messing around! I'll have you understand that my mess... My contact with your wife is purely professional.

Mr. Caron: That's what I resent!

Dr. Lamar: What do you mean?

Mr. Caron: What right have you to make my wife over? You've enlarged her here and reduced her there. And you've even done something to her knees! And I liked them as they were. I married those knees for better or for worse.

Dr. Lamar: Madame Caron merely asked me to add a couple of dimples.

Mr. Caron: And I contend, and every right thinking husband will back me up, that dimples give a distinctly ga-ga expression to the kneecap. Quite unsuited to my wife!

Dr. Lamar: Listen, when you make motorbuses for the public, you improve their lines, don't ya?

Mr. Caron: Oh, have you seen ... What right have you to classify my wife as a public conveyance? Huh? Where is she? Now you've got her around here somewhere!

Dr. Lamar: You can't go in there!

Mr. Caron: Why not?

Dr. Lamar: She might not be dressed! I'll see her!

Mr. Caron: Well, you tell her that ... OH! You'll see, but I can't!

Dr. Lamar: Show this gentleman out!

Mr. Caron: Doctor! Put my wife back the way she was when I married her or I'll take steps. I don't know in what direction, but I'll take steps!

The moral of the story (and believe me, there are very few morals in this story) is that Dr. Lamar discovers that it's no fun to love (Kiss) a woman, when that same woman has become obsessed with her looks, figure and Makeup to the exclusion of all else. Beauty, truly, is in the eye of the beholder.

This movie is great for a laugh! Or several!!

VARIETY Film Review - July 10, 1934
- by "Chic"
- submitted by Barry Martin
Either a gag comedy with a romantic thread or a light romance with gag comedy, but more gags than romance.  Some of the gags are corkers.  A nice picture lacking sufficient strength to wow but should do all right.  

Plot is thin, though sufficient.  Fashionable beauty doctor makes an especially neat job on a patient and her husband divorces her.  She marries the doctor but her strict adherence to diet and treatment disgusts him.  He turns to his secretary but meantime the latter has fallen for the former husband.  Love dies when in a taxi accident she discovers he wears a toupee, so she goes back to the doctor.  There is a gigolo to console the beauty.

Not much to hang a plot to but shows considerable effort along comedy lines, and one of the best gags is a Maharajah who brings his whole harem in for treatment.  He's been in Paris and saw a tableau, 'Night in the Orient,' in a music hall.  He wants his wives made over, feeling he's been cheated.  They are beautified, and get jobs appearing in the tableau, so he's out of luck.  

Cary Grant does well as the doctor but both he and E. E. Horton play too strongly for laughs.  Genevieve Tobin fills the specifications as the beauty, but acting honors go to Helen Mack as the secretary.  A delightfully sincere performance.  The Wampas stars are somewhere in the picture, but appear prominently only in the pictorial introductory program.  Plenty of sight stuff and plenty of laughs in spots.  

New York Times Film Review - June 29, 1934
- by A.D.S.
- submitted by Barry Martin
The picture entitled, with such knowing and antic humor, "Kiss and Make-Up" is a first-class lingerie bazaar and a third-class entertainment. It represents a triumphant attempt to achieve pictorial allure without disturbing its pious editorial point of view on the impersonal worship of feminine beauty. It crowds the screen so thickly with silk, satin and nymphs that it is with some difficulty that such agreeable players as Edward Everett Horton, Cary Grant and Genevieve Tobin succeed in projecting themselves at all.

The setting is a beauty salon in Paris where unlovely females are miraculously transformed. Here are miles of white cubicles where, under Dr. Lamar's messianic leadership, miles of dissatisfied women participate in the barbaric rites by which they are added to and subtracted from according to the advanced mathematics of the good doctor.

There is a theme in the new film which, in more skillful hands, might form the basis for a good comedy. Carrying the principles of beauty culture to their logical conclusion, Dr. Lamar finally produces a masterpiece of loveliness, who is, unfortunately, so bound to the harrowing ritual of lotion, massage, diet and rest that she becomes entirely useless. Thereupon her husband (Mr. Horton) casts her off and she becomes the wife of her doctor. After a honeymoon, during which his wife devotes herself chiefly to the preservation of her face and figure, the doctor in desperation returns to Paris and wrecks his temple of beauty.

The picture occasionally achieves a briefly comic episode, like that in which an Oriental potentate leads his wives into the salon, displays a sketch showing a Western conception of the delights of the harm and angrily announces that he has been bamboozled. But "Kiss and Make-Up" succeeds to a remarkable degree in being dull.

Max Baer, the motion-picture actor and heavyweight champion, heads the stage show in a revue which also offers Benny Rubin, Buddy Baer, Henrietta Schumann, Harrison and Fisher and Carolyn Marsh.  A.D.S.

CHICAGO DAILY TRIBUNE Film Review - August 26, 1934
- by Mae Tinée
- submitted by Renee Klish

Artificial Sirens Take a Rap in 'Kiss and Make Up'

Good Morning!

Ah ha!  Methinks me spots a great back to nature movement - Hollywood sponsored - on its way!

Show the ladies many pictures like "Kiss and Make Up" and blood red finger nails, carefully creamed bedtime faces, and lean ham and lettuce diets will be things of the past.  Soap and cold water, healthful housework, and that nature gloss to the finger tips will be favored by the fair, and papa can kiss mama without becoming lipstick branded.  CERTAINLY no woman will ever be able to forget the look on Cary Grant's face as, all set to embrace a blushing bride on his wedding night, she appears before him greased, bound up, mittened - a fearsome armful from whom he flees as if the devil were after him.

True, all unrealizing, he'd made her what she was that night, but - well, let's bite into the story:

Love Flees from Beauty
"Kiss and Make Up" is a comedy drama localed in Paris.  Here Mr. Grant, as a certain glamorous Dr. Pierre Lamar, owns and presides over a celebrated salon de beaute to which flock ladies who wish to be made over.

It is a gorgeous establishment, fully equipped with devices for turning stylish fats into tempting thinsies, ironing out wrinkles, reducing beefy ankles to a state of devastating slimness.  Dr. Lamar gives skilled personal service to patrons who wish their faces remodeled.

And Mme. Caron is his masterpiece.  A masterpiece of whom her husband definitely and finally washes his hands, infinitely preferring her as she was when he married her.  But madame is purring satisfied, as is the doctor . . . And so the artist and his handiwork are wed - to the sorrow of the former's devoted young secretary, a beauty au naturel, who forgets to powder her nose and loves her employer plenty.

Enamored of his gorgeous bride, Dr. Lamar, immediately after the ceremony, carts her off to a beauticians' convention at the seaside. A raging secretary alos goes along . . . 

It is here that the famous exponent and producer of feminine pulchritude discovers what a boudoir lemon a beauty parlor rose can be . . .

Ending Involves a Lot of Fun
The happy ending is a regular Keystone comedy affair with racing autos, squealing guinea pigs, flowers, upset fruit carts, and deserting toupes to give it life and color.

Cary Grant, almost too good looking to be true in this number, is pulse quickening as Dr. Lamar.  Despite his manly beauty and the feminine adulation of his patients which seek to trip him up at every step he conducts himself with praiseworthy professional decorum, and all women observers will be viciously glad to see Mme. Lamar finally routed and that nice, pretty, sensible Anne scheduled to take her place.

Genevieve Tobin is excellent as te perfect man-made beauty who hasn't one idea to rub against another.  Helen Mack - she looks enough like Frances Dee to BE Frances Dee, and one can only hope that Joel MacCrea doesn't make any mistakes on a dark night - plays the earnest little secretary - earnestly.  Edward Everett Horton is farcical as the stampeding husband - all other roles are aptly enacted.  There are several song numbers - unremarkable but pleasing.  And is Cary booful when he sings!

The picture fools you at the start.  You get the idea it's going to be naughty-naughty - and it really isn't at all.

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