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Helen Murphy (Constance Bennett) runs an agency that fixes all sorts of
things for everybody, from business to private problems, from state
affairs to family matters - all for a (high) price of course, a price her
mainly male clients are very willing to pay. But while her business is a
big success, personally Helen has long grown sick of men who need nothing
more than a substitute mother to take care of everything for them, she
wants a strong man who can stand on his own two feet ... so it's no wonder
she falls in love with inventor Robert (Vincent Price), a strong-willed
man who is taking fate into his own hands. Robert falls in love with Helen
as well, mistaking her for a homebody (a quality he adores in women), and
as long as she doesn't tell him what she does for a living (and she
doesn't have to), everything should be perfect, right? Wrong, because
Robert has only come to town to sell his invention, a revolutionary
tractor design - but nobody wants to buy. Convinced his design is a
failure, Robert has already decided to move back to where he came from,
when Helen decides to help him a bit through her agency connections,
hooking him up with Robinson (Charles Ruggles), a tractor entrepreneur.
Now everything's perfect, right? Wrong again, because Robinson has a
daughter, Audrey (Joy Hodges), who takes a liking in the young and
handsome inventor, and before you know it, the two are engaged, rather by
accident. When Helen learns about this, she immediately confronts Robert,
but then lets it slip that she is the head of her problem-solving agency,
upon which Robert's feelings for her cool off almost immediately - or so
it seems, because he has long made plans of his own to come out of the
whole mess without anyone losing face, plans that involve Robinson's cook
(Mischa Auer), who is actually a Russian prince, and in the end, Audrey
elopes with the cook/prince just before getting married, and since Robert
refuses to not getting married, he just marries Helen on the spot. So-so
comedy vehicle for Constance Bennett, who handles her role quite well and
really carries the movie - but the movie's script is little more than a
trainwreck: The basic premise is incredibly far-fetched, all characters
apart from Bennett's remain disappointingly flat, some comedy scenes (like
a lengthy kitchen scene with Charles Ruggles and Mischa Auer) are not
integrated into the film at all, and the film's message - that a woman can
only find true happiness as a homebody on the side of a strong man - is
questionable not only from today's point of view. By the way, Vincent
Price's debut feature, but he only gets the opportunity to shine in one
scene, when he pretends to go insane to scare off his fiancée ...
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