Googie Withers has just cut a big deal in Sweden, but British monetary regulations so limit the amount of money that British subjects can take out of the country that she cannot pay her hotel bill. Her enormously wealthy ex-husband, John McCallum, is also in Sweden, but the same regulations have him locked out of his hotel room and flat broke.
It's based on a popular stage play of the era, and like many another, it's a brittle affair, full of sniggering sexual innuendo and money worries, an attempt to update the frenetic sex farce of the Pre-Code era that evolves into Screwball comedy in the 1930s. It's supported by the charm of Miss Withers and also by a wonderful supporting role by Yolande Donlan, who manages to talk about Topic A (as Preston Sturges used to call it) while displaying an untidy wad of banknotes which she acquired by only doing what she feels like doing at the moment.
I kept feeling I shouldn't be enjoying the movie anywhere as much as I did and still do, but its well-greased mechanisms appeal to my sense of construction.
