A hammy romp, dated and with energy petering out after a while, but furiously acted by costars Davis and Howard. He's an egocentric matinee idol engaged to Davis, his battle-axe leading lady.
They have called off their marriage 11 times because, as loving as they are on stage, they constantly bicker off stage. Howard revels in the adoration of his stage-door Janies, which Davis can't stand. The most blatant swooner is de Havilland, who comes to every performance and sits there
starry-eyed and almost salivating. being engaged to Knowles doesn't stop her from visiting the backstage dressing room and declaring her love to Howard. Later, Knowles confronts Howard and pleads with him to turn de Havilland away so he can marry the girl. Howard sees this as a chance to help
Knowles and have some fun at the bothersome de Havilland's expense. It backfires, of course, and Howard, desperate to get the beautiful deb out of his life, asks Davis to pose as his wife. She agrees, but has some malicious fun of her own.
The film is better before it bogs down in too many in staples of 1930's comedy: de Havilland's execrable heiress and the country house of stultifying wasps. LOVE begins with a spoof of the tomb scene from Romeo and Juliet, and there are some funny bits backstage between dressing rooms, played by
the leads. There's one hilarious performance once they get stuck in the country: Eric Blore's loony manservant. What a strange and welcome egg he is.
