It starts with a simple mistake: After quitting her job at the guest house Paradise for the umpteenth time, Lotta (Maritta Marke) has forgotten to turn off the flat iron at her workplace, and since she doesn't want to cause the guest house to burn down, she asks her father Julle (Thor Modéen), tailor in the neighbouring town, to sneak in at night and turn it off. Julle does, but trying to leave the guest house, he gets somehow trapped in a wardrobe instead, and is ultimately caught, and to get out of the situation he claims to be Argentinian opera singer Don Carlos the guest house's owner Mrs. Pettersson (Julia Caesar) is expecting any day now. Now initially this is supposed to be nothing but a short-lived ruse for Julle to get away at the earliest moment - but then Julle bumps into one of the Paradise's guests, Baron de Planche (Arthur Fischer), whom Julle knows to be a fraud and a thief, and yet Mrs. Pettersson has promised the hand of her daughter Margit (Greta Ericson) to the Baron in marriage, even though she's in love with inventor and speed boat racer Eric (Folke Helleberg). So Julle takes it upon himself to impersonate Don Carlos a little longer, at least until Eric can prove his worth in a boat race, while trying to evade all situations where he actually has to sing. Of course all sorts of confusion occur, which include Julle's assistant (Nils Ericsson) having to dress up as a girl and Lotta being accidently rehired at the guest house, but after losing her clothes in an accident having to walk the premises in her underwear. Eventually, too, the real Don Carlos (Carl Hagman) does show up, but then Julle manages to capture and expose the Baron as a fraud and win the boat race in Eric's especially developed boat at the same time, and everything ends happily.

Hardly a filmmaking milestone, this is however a very nicely put together slightly shallow comedy, and while it breaks no new ground, it stays entertaining throughout thanks to brisk pacing, a real talent for finding comical situations, and fun characters ranging from the likeable to the eccentric that keep one invested. And an able ensemble carries the film rather beautifully. Now it might not be a film you'll remember for all that long after watching, but while doing so you'll very probably find yourself enjoying it.

review © by Mike Haberfelner

 

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