“Virtually nothing happens in The Devil to Pay, yet it is such a civilised, elegant and charming piece of froth, and such a fine showcase for so many likeable players (including Loretta Young and Myrna Loy), that its lack of depth or dramatic incident merely makes it all the easier just to sit back and enjoy its grace. Even allowing for the huge success of 1929's Bulldog Drummond, The Devil to Pay was considered Ronald Colman's best work to that date, and it's an understandable conclusion. What ‘really' surprises about the film is its total lack of dating. Except for a gown or two, there is nothing about it to suggest 1930. The players are all as at ease as if they'd been playing in talkies for decades; the pacing is brisk, the camerawork glossy and mobile, and the film has none of the slowness and stodginess of so many stage adaptations of those early sound years.... With so much - and Frederick Kerr bumbling about in his usual delightful way - who needs a plot too?” --William K. Everson