Since opera star Grace Moore had made a series of hit motion pictures for Columbia, and Lily Pons had done a few at RKO, Paramount decided to cash in on the trend and hire Gladys Swarthout. Miss Swarthout was a very well regarded mezzo-soprano singer for the Metropolitan Opera. Unlike the French-born Pons and the American-born Moore who often acted European, Swarthout was an American gal born in Missouri who seemed a lot more wholesome on camera.
Paramount put Swarthout in five films between 1936 and 1939. Most of these were romantic comedies. In the case of ROMANCE IN THE DARK which contained more dramatic elements, she was still cast in romantic stories that appealed to the masses because they featured a heroine dealing with matters of the heart. Swarthout’s last film, AMBUSH, was a slight change of pace, putting her into an outdoor setting in an action-adventure yarn. In all these films, like her contemporaries mentioned above, she sang.
Since Swarthout comes across earthy and daresay more natural than the other gals, I find her performances more accessible and pleasurable. She is teamed up with John Boles in this venture, who costarred with her in a previous vehicle.
The second lead role is taken by John Barrymore. At this point in his career, Barrymore was prone to highly artificial gestures. Towards the end of his filmmaking days, he adopted a style of self-parody that verged on the grotesque. Fortunately, in this production, he is considerably restrained and does provide a sensible performance as a musician rival to Boles.
Swarthout is playing the woman, a rising star, who becomes involved with both men. Of course we know she’ll end up with Boles. It starts when Boles and Barrymore visit an out of the way college town where a graduation is occurring. Swarthout is one of the graduates with dreams of heading to the big city, because she can pursue her goals of becoming a successful opera singer. Initially, Boles doesn’t really pay attention to her, even if he should.
A short time later Swarthout has arrived in the city, and mistakenly thinking she had forged a meaningful acquaintanceship with Boles at the graduation ceremony, she looks him up. He doesn’t exactly remember her, which crushes her. But she won’t give up, and undeterred, she does pursue her goals while still trying to get to know Boles better as he has connections that may help her attain success.
The comedic aspects of the plot kick in, when needing money and a roof over her head, Swarthout takes a job as a maid in Boles’ home. In somewhat humorous scenes, she is seen cleaning and turning down the beds while singing. She intends for Boles to “accidentally” hear her, but he is usually so distracted he’s not paying attention.
Complicating matters is Boles’ own relationship with a vain countess (done to perfection by Claire Dodd). So, even when Boles does start to notice Swarthout for her vocal talent and beauty, he is unavailable romantically. This is where Barrymore comes back in to the story, since Boles then tries to pawn Swarthout off on Barrymore, to prevent friction with Dodd but also to ensure Swarthout receives mentorship and career guidance. But then, Boles realizes it is Swarthout, not Dodd, he should have as the woman in his arms.
It’s all a rather pleasing romp that should keep viewers who enjoy this type of far quite satisfied. The viewed print was in fairly deplorable shape, and it’s a shame Universal which owns these Paramount gems from the 1930s hasn’t seen fit to restore them all.
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