Love on Toast

1937

1h 5m

IMDb RATING

5.5/10

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Comedy

The plot concerns a female press agent who must select a "Mr. Manhattan" and "Miss Brooklyn" for an ad campaign mounted by a soup company. The Mr. Manhattan chosen is a singing soda jerk, who doesn't want to play along until he is given the honor of choosing his own Miss Brooklyn.

Directors

E.A. Dupont

Writers

Richard Connell(writer by)

Jane Storm(writer by)

Doris Malloy(writer by)

Stars

John Payne

Stella Adler

Grant Richards

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Top cast

John Payne

Bill Adams

Stella Adler

Linda Craven

Grant Richards

Clark 'Sandy' Sanford

Polly Marr

Egbert

Belle Huntley

Joe Piso

Jonathan

Finley

Directors

E.A. Dupont

Writers

Richard Connell(writer by)

Jane Storm(writer by)

Doris Malloy(writer by)

All cast & crew

Production, box office & more at IMDbPro

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6/10

The "Sanford" soup company is having a crisis. It sells more in Glendale than it does in New York City and this is causing consternation amongst the board - who want to turn the factory into an ice rink! The company is now owned by the son of the industrious father - "Sandy" (Grant Richards) and he has to come up with a solution. Luckily, he has his press agent "Linda" (Stella Adler) who comes up with the dream solution. A beauty competition that will require people to submit loads of soup labels to be in with a chance of being "Miss Brooklyn" or "Mr. Manhattan". There are no shortages of entries, driving up their sales but also creating an headache for the board members who ultimately select the hunky, but completely disinterested "Bill" (John Payne) and the feisty "Polly" (Kathryn Kane). The idea is that the two will fall head over heels and marry. Somehow we just know that the execution of that plan is never going to turn out so ideally, as the course of true love never runs smoothly. This film starts off strongly, with Adler given pretty much free reign to establish a funny, lively and savvy character. Sadly, though, there is little chemistry between her and the handsome but very much by-the-numbers Payne, and as the plot meanders on the pace runs out and the characterisations revert more and more to type. The wittiness of the script peters out too, and by halfway through we are starting on a borderline farce with an all too predictable ending. It features a couple of unremarkable musical numbers from Sam Coslow and Burton Lane that are actually sung by their actors, but they seem to do little more than further reduce the story to melodrama. It's worth a watch, though, for the first half hour of Adler owning the screen.

Geronimo196720 Apr, 2023