SimonJack In just two years, and with more than a dozen films behind him, Cary Grant was a hit and commanded star status and leads in most of his films. While many of his movies were very good, a few weren't much better than run-of-the mill. "Kiss and Make-Up" is one of those. The title of this movie is a play on words – make-up then being used to refer to women's makeup and cosmetics. Grant is a doctor in this film – a plastic surgeon living in Paris who has built his particular calling into a beauty empire. He will do the usual face-lifting and other surgeries, but much of his professional guidance is in diet, exercise, the use of special beauty products and all sorts of pampering practices for the body. It's a real body-worship plot in his beauty salon. But after he "creates" the perfect woman and she leaves her husband for him, he finds the tables turned. Grant plays Dr. Maurice Lamar who gets a dose of his own medicine. The perfect beauty is Genevieve Tobin as Eve Caron. The husband who liked his wife the way she was before and winds up divorced from here is Marcel Caron, played by Edward Everett Horton. Another principal character is Lamar's secretary-manager, Anne, played by Helen Mack. Lamar eventually comes to his senses and is saved from the hedonistic lifestyle of body-worship. The movie has a car chase and Cary Grant sings. He could carry a tune, but nothing like the noted singing stars. He also plays the piano – a talent he used some in later films and frequently in his personal life. Marcel and Anne have the only good song in the film – they both love their "Corn Beef and Cabbage."With all of the attention to physical beauty and the number of beauties in the salon, this film can soon begin to wear on one. The plot is thin and shallow. It's probably only of interest to die-hard Cary Grant fans.

mark.waltz What starts off as a feature variation on the Eddie Cantor song Keep Young and Beautiful from Roman Scandals quickly turns into My Baby Just Cares For Me as beauty doctor Cary Grant finds out when he breaks up the marriage of client Genevieve Tobin, marries her and learns that life with a glamour girl ain't always so glamorous. Edward Everett Horton is her ex who takes up with Grant's jilted secretary Helen Mack who loved him from afar. Pre-code in every shape and form, this features some deliciously raunchy dialog and plenty of innuendo.At first, you think that the movie is going to be a plug for Max Factor, but then it suddenly switches to an obvious crack at the obsession with beauty and the genuine ridiculousness of the industry that still obsesses today. Ugly old women yearn to look decades younger, those still young prove themselves to be shamefully materialistic and foolish. Not much has changed in 80 years! Grant gets to sing a bit and Tobin spoofs the ridiculousness of vanity with delightful tongue in cheek. Horton as usual is a delightfully funny pompous fool. Mack is noble but nobody's fool yet her pairing with Horton is never convincing. If you pick up on the parody, you'll see past the shallowness and find a handsome romantic comedy with plenty to enjoy.

blanche-2 Cary Grant, Genevieve Tobin, Helen Mack, and Edward Everett Horton star in "Kiss and Make Up," a 1934 film. Grant plays a popular plastic surgeon, Dr. Maurice Lamar (the film takes place in France). He falls for one of his makeovers (Tobin) who leaves her husband (Horton) and marries Lamar. Despite her looks, Lamar soon realizes he has created a monster. Meanwhile, Lamar's secretary Anne is in love with him and becomes increasingly unhappy as he seems to need her constantly but takes her for granted. Can you guess what happens? This actually is a musical with three songs, and Grant does his own singing. He must have - no one could have dubbed his awful tremolo. Other than that, he actually had a pleasant singing voice.A very slight comedy, and I was surprised to read that Carole Lombard was supposed to play the role of the secretary but turned it down. Good move. And that casting wouldn't have worked. Lombard was certainly too beautiful to have been ignored by Lamar. Mack was pretty without being an absolute knockout. Genevieve Tobin does a good job as the annoying Eve, and Horton is funny as her husband, who wants his wife's old looks and personality back.This film was really beneath Grant but he was too new to turn it down. He is perfect for the role of a handsome, dapper womanizer and is very good.See it for the young Grant, but don't expect too much.

robb_772 An underrated picture of veritable wackiness, KISS AND MAKE UP is a forerunner to the classic screwball comedies of the late-thirties and early-forties. The storyline of a progressive plastic surgeon (Cary Grant) who becomes involved with his greatest creation (Genevieve Tobin) has a great FRANKENSTEIN-esquire aura that contains some surprisingly dark overtones for a film comedy of this era – a darkness which is present, but not really explored. The film is benefited greatly by Cary Grant, who gets an early chance to display his grand prowess at farce, which is one of the many qualities that inevitably made him a huge Hollywood star. The rest of the cast is also rounded out acceptably, with Tobin, Helen Mack, and Edward Everett Horton all turning in fine work.On the downside, the film is extremely episodic, which is not inherently a problem in many cases, but here it prevents the picture from gelling into the knockabout farce it intended to be. Also somewhat detrimental is director Harlan Thompson's approach to the material, which often lacks energy or pizazz; make no mistake, Thompson's work is perfectly acceptable, but I could not help but imagine how truly dynamic the film could have been with Howard Hawks or (later) Peter Bogdanovich in the director's chair. Thompson earns major points for the frantic final chase scene, however, which concludes the film with a thunderous, side-splitting, wig-ripping bang! The movie as a whole is solidly enjoyable, but this terrific end sequence alone raises it's rating by at least a notch or two.