CheerupSilver Very Cool!!!

Flyerplesys Perfectly adorable

2hotFeature one of my absolute favorites!

RipDelight This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

MartinHafer Hope (Joan Blondell), Faith (Binnie Barnes) and Charity (Janet Blair) are three oddly named sisters. The first two work at a hotel and the third has arrived for a visit. This hotel specializes in hosting conventions and exactly what their job entails is a big vague (perhaps it was implied that they were 'good time girls'). One group of conventioners are morticians and another is a meeting of a labor and management with a federal mediator. However, the mediator never arrives...and Tommy Hopkins (John Howard) is a reporter waiting and waiting and waiting. However, suddenly and without warning, a body appears...it's the mediator! Well, since he is a reporter, Tommy is planning on exploiting this to the max...but then the body disappears...and keeps appearing and disappearing...much like in the film "Weekend at Bernies".This film's biggest problem is that it tries way too hard. It's supposed to be a screwball comedy but continually bashes you over the head as if to say "now you MUST laugh". The ending is even worse, as the actors seem to have no idea what to do and start mugging badly at the camera...as if they are begging for more laughs. As a result, the film really grates on you when it should have been funny and Eric Blore (a very funny guy) is sadly wasted here as well.

weezeralfalfa There's a lot going on at the Merchant's hotel. A magician's convention is just breaking up, while a mortician's convention is about to get started. In addition, a mediation between aircraft manufacturers and workers will soon take place. There is no obvious connection between these 3 groups in the beginning, but each will have some relevance to the central plot of a body being discovered in one of the guest rooms, and the hotel personnel trying to hush up the incident, fearing it will harm the hotel's reputation. To accomplish this, the body is moved around from place to place, trying to keep the police from finding it. This is sometimes accomplished by 2 hostess sisters(Hope and Faith Banner, played by Joan Blondell and Binnie Barnes)or by the hotel manager Puddle(Robert Benchley) or by Tommy (John Howard): the hotel's press agent. In addition, there is a bonkers magician(Eric Blore) who hasn't left because he's looking for "Charlie".Frank McGlynn plays the chairman of the morticians convention.. looking appropriately creepy, fitting the Hollywood stereotype of what undertakers should look like.Janet Blair(as Charity) plays the much younger sister of Hope and Faith. She's been going to an all girls private school, financed by Hope. Evidently, she's been man-starved, as she throws herself at most any man, giving Tommy a passionate kiss or two. Hope and Tommy have occasionally talked about marriage, but when Hope catches Charity and Tommy kissing, she assumes Charity has taken her place. Charity says she doesn't want to go back to school; she wants to be a hostess, like Hope and Faith.Robert Benchley plays his usual role as hotel or apartment manager, or a similar type of profession. Unfortunately, he's not as funny as in some films I've seen....I was impressed with John Howard as Tommy.In the incident where the body, abetted by Tommy, is playing poker with several men, the body keeps winning: "He's a lucky stiff" one remarks. But Tommy wants to lose so he has an excuse to leave with the body.I won't tell you how the magician, the morticians and the labor mediation conference further fit into the story. See the film on YouTube to find out how things work out. I rate this film as a lesser screwball comedy, which may be worthwhile for you to check out. The title is misleading, as the action all takes place within or just outside of a hotel.

dougdoepke The director (Leigh Jason) keeps up the madcap pacing, while the scriptwriter comes up with a clever premise (hiding a body during a morticians convention). Then too, add some very capable performers, Blondell, Barnes, the incomparable Robert Benchley, and an extremely winsome Janet Blair. It looks promising, yet, the results are mixed at best, at least in my little book. It seems to me, a key element of screwball or madcap is flustered frustration. The classics—Bringing Up Baby (1939); Murder, He Says (1945), for example—get laughs from comedic exasperation. Petty annoyances keep thwarting a Grant or a MacMurray as they try to accomplish their goals, whether catching a big cat or escaping a deranged family. We laugh at the way everything seems to work against them, in a light-hearted way, of course. But it's that sense of comedic frustration, mounting over time and petty adversity that carries the momentum.Now, there's a rich source of frustration here with getting the body out of the hotel. One problem is that the focus switches back and forth too often among the players, so that the crucial sense of comedic exasperation is dissipated among Blondell, Howard, the cleaning ladies and the police chief. Note that the one scene that really works, the poker-playing skit, keeps the focus on Howard and his mounting frustration in trying to get away. In short, the movie suffers because there's no one person (a Grant or a MacMurray) to identify with as he or she encounters the series of petty plot adversities. Thus, a key element of comedic continuity is lost, as, for example, when the cleaning ladies booze it up, an amusing but unconnected event. Add to that, Howard's limitations as a comedic performer and the really unfortunate casting of an inapt Hugh O'Connell as the police chief. In fact, O'Connell's role turns out to be much bigger than expected and really requires the flustered antics of an expert performer, say, a Donald McBride or a James Burke, familiar cop faces from that era.Anyway, the movie does have its compensations, especially the clever twist ending. I'm just sorry that so many promising elements produce such a generally mild result.

aberlour36 This film should have succeeded. The cast is exceptional, and Columbia Pictures had been on a winning streak at the time. But the script is dreadful and illustrates the truth that good screwball comedy is rare and requires more than good actors. In this movie, people are running around frantically (poor Eric Blore), screaming lines (poor Joan Blondell and Binny Barnes), and trying on-so-hard to be wild and wacky. And it doesn't come off. The plot is tedious and unconvincing. And if you can find more than three laughs in the film, you deserve an award for credulity or inattention. In short, this is a dud. And the era of screwball comedy was just about over. Three Girls About Town is unavailable on DVD or VHS. (I bought a bad copy on e-Bay, probably taken off of television.) Few film buffs or comedy fans should cry for its reappearance.