Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

1937's "Second Honeymoon" reunites the stars of "Love is News," Tyrone Power and Loretta Young, this film coasting along at a slower pace than its predecessor, less amusing and quite predictable. Loretta, living in Miami with second husband Lyle Talbot, just happens to encounter former spouse Power (yeah, right!), and they immediately kiss before we learn that they USED to be married! From there surprises are few, as Talbot may be a good provider but is also prissy and businesslike, while the happy go lucky Tyrone, the very qualities responsible for his divorce, proves now to be irresistible to the undecided bride. There are some minor complications involving Marjorie Weaver, whose Kentucky working girl catches the eye of both husbands, winding up marrying Power's new valet Stuart Erwin. Among the unbilled reporters appearing in the final reel is Lon Chaney, getting some unintelligible dialogue and virtually nothing to do, one year into his forgettable two years as a Fox contract player, his role in the earlier "Love is News" excised from the film prior to release. Chaney did survive as another reporter in Power's "Thin Ice," opposite Sonja Henie, and plays a photographer in the upcoming "Alexander's Ragtime Band," with his future co-star John Carradine assuming the role of a taxi driver.

Come late! Yes, you'll enjoy this movie much more if you come in around 15 minutes late. The opening expositions are not only slow, flat- footed and extremely dull, but they feature a ridiculously miscast Tyrone Power. Admittedly, Mr. Power is nattily attired and emits a breezy personality. But he doesn't fool us, even though director Walter Lang has seen to it that Loretta Young gets the pick of the camera angles. I don't know about you, but I was never a great fan of Loretta. She always struck me as being too businesslike, too self-centered, too untruthful and too mannish – although not afraid to use any amount of feminine whims to accomplish her purposes: Selfish and self-centered as they always were, she always needed a man like Clark Gable (which she got in Key to the City) to stand up to her. Claire Trevor has a small, inconsequential part, although we like her costumes and coiffure – which are not too over-shadowed by Miss Young's even though Milady Young gets the pick of the camera angles.Marjorie Weaver, although she has a part larger than Trevor's, is the one that suffers in the costumes designed for and photography stakes. Some of her close-ups, for example, leave a whole lot to be desired. Unfortunately, this is virtually what happened to Marjorie throughout her entire career. She came mighty close to major stardom, but never ever crossed the dividing line! "Sally, Irene and Mary" is a typical Weaver entry. Although she plays Mary, her credit on the poster is so small, it makes little impression. On the other hand, although hidden way down Second Honeymoon's cast list, Lyle Talbot has a large part as Miss Young's present husband. Needless to say, both script and direction constantly remind us that Talbot is a comic figure who elicits little audience sympathy, although I myself found him far more likable than the preposterous Ty Power character. I also enjoyed Paul Hurst, who does a wonderful turn here as the inebriated Huggins. All told, however, Walter Lang's direction of this 84-minutes slice of escapist entertainment is the acme of polish, although it puts as little strain on the facial muscles as it does on our brains. Even so, just be sure you come late and don't examine it too closely!

I guess it's somewhat fortunate that I recently watched Woody Allen's Radio Days because Second Honeymoon seemed to be about just the kind of people that his family used, his mother especially, used to listen to on the radio. These people who go to glamorous nightclubs and never seem to worry about where the money is, the kind of people during the Depression everyone would fantasize about.Loretta Young seems to have gotten off the fantasy trip. She was married for awhile to Tyrone Power who is a Thirties type playboy who normally would be found over at MGM played by Robert Montgomery or Franchot Tone. But life was too much of an adventure with the irresponsible Power, so she got rid of him and married reliable old and dull Lyle Talbot.Now when Power and Young meet up again quite accidentally at a resort vacation if you're any kind of movie fan you KNOW they'll be back together. Curious that Talbot's very reliability, the kind of man most in the Thirties in real life would have liked to have as provider is just dismissed here. Of course Talbot's given a roving eye himself so he's not made a sympathetic figure.I thought of Radio Days and the parents who when it is reported that Power's renewed interest in Young is reported in Walter Winchell's column that they would be listening to Winchell and hanging on every word of gossip he had about the beautiful people.No doubt about it though, Power and Young were certainly beautiful people back in the day. Second Honeymoon though is a fluff kind of fantasy comedy that would never fly today, I'm not sure how well it got off the ground in 1937.

"Second Honeymoon" is a fluffy comedy which probably had its genesis in "Private Lives." It concerns a beautiful divorcée (Loretta Young) who, upon marrying her second husband (Lyle Talbot) runs into her first (Tyrone Power). Everyone is rich, magnificently dressed, and does a lot of traveling in the spirit of Hollywood escapism during the Depression.This movie is talky and doesn't have the energy or enough of the humor of "Cafe Metropole," another early Power-Young film. Even with an 85 minute or thereabouts running time, it felt long.There are some very good performances. Stuart Erwin plays Power's valet, and he has an interesting characterization. Claire Trevor is delightful in a supporting role, and Marjorie Weaver brings liveliness to the part of Joy.Young is absolutely fabulous looking and is appropriately jealous and angry when the script calls for it. Power is absurdly handsome, just stunning, and alas, doesn't have too much to do. It's an extremely lightweight role. It's probably just as well. It was difficult to do anything but ogle when he was on screen in this one.