Carole Lombard is the first of Mitchell Leisen's dynamic women (he worked with them all: Colbert, Dietrich, Stanwyck, Russell...), and this witty Norman Krasna script was her first specially-designed vehicle. The Lubitsch touch is evident here (he had just begun as production chief at Paramount); the New York Times noted the "shrewd perfection of its timing and the whip-like crackle of its humor." The plot puts two depression hustlers to work in creating a comedy of misidentity: Lombard, an ambitious and cynical manicurist, leaves her wealthy boyfriend in the suds for an impoverished playboy (Fred MacMurray, in his first break). "The most amiable of thirties screwball comedies" (Richard Corliss).