I like the storyline of this show,it attract me so much

That was an excellent one.

Sorry, this movie sucks

Sadly Over-hyped

This was a strange movie, but I did enjoy it. My Tivo billed it as a comedy, but there were some quite dramatic elements, too. (Most notably, the car falling on Bill.) I thought I had this movie figured out (Kitty would do the right thing and marry Bill and then realize that he was really the one she loved all along).I really liked the twists thrown in at the end. (Bob buying Bill's shop to give Bill and Kitty money and then Bill being a jerk in order to reveal Kitty's true feelings.) However, all of it kind of fell flat for me. Ann Sothern didn't have chemistry with either of her leading men. I just couldn't believe that she would date (let alone consider marrying) either one of them. One reason I love classic movies is seeing the fashion and cars of days gone by. Blind Date did not disappoint in this regard. Sothern's dresses were all quite stunning, although a bit fancy for a working girl (specifically the dresses worn before she met Bob). While I enjoyed this movie, it would have been much better with some chemistry between the leading lady and her leading men. The script and supporting actors were solid, it was just the leading roles that could have been better cast.

"Blind Date" is one of three stories-made-into-movie by author Vida Hurst. Lots of familiar faces in this oldie from 1934. Mickey Rooney as a mouthy little punk. He seems to be in the film for comedic and homey "family values". Jane Darwell again plays the strong-willed mother, just as she had in Grapes of Wrath and the Oxbow Incident. Ann Sothern is Kitty, who has been dating Bill (Paul Kelly), but meets up with rich Bob Hartwell, played by Neil Hamilton, who may or may not be better for her. You can certainly tell that this was made at the very beginning of the Hays production code -- at one point, Kitty says she can't be up there alone with him if there isn't anyone else in the house...what a change from just a year or two prior, when anything and everything was OK. Good solid plot, but a whole lot of conversation and mushy love talk. It raises the question over what a girl should be searching for in a man; should she hold out for a man with integrity who treats her nice, or just find a man with big bucks, as most of the movies from the previous 20 years had advocated...? and how do men change when their situation changes ? watch out for some violence in the strange dance marathon scene. TV viewers from the 1960s will recognize Hamilton as Commissioner Gordon from Batman..... Also some weird drama in the off-screen lives for some of the cast in this one --Paul Kelly had gone to jail for being accessory to murder in a love triangle. Mickey Rooney had an affair with Norma Shearer, who was 20 years older; Rooney ended up being married eight times. Tyler Brooke (Emory) and Spencer Charters (Pa) both knocked themselves off in real life. The title "Blind Date" has been reused many times, for films, TV series, and even cartoons, but none of them seem to have the same plot as this one.

Working girl Kitty (Sothern) is engaged to Bill (Kelly), who neglects her by working long hours at his garage in order to save money for their marriage. After being stood up on her birthday, Kitty goes on a double-date/blind date, where she meets department store heir Bob Hartwell (Hamilton). She falls in love, but leaves him when his protestations of love appear to cover a desire for her to be his mistress, rather than his wife. Faithful Bill rallies 'round to comfort her, and at last she gives in to his repeated requests to reinstate their engagement, pressured in part by Bill's support of her family after she loses her job. When Bob returns, however, convinced that he wants marriage after all, will Kitty follow her heart or her conscience? This film was a lot better than I'd expected it to be. The character of Bill at first comes off as the sort of loud comic Irishman type that Jack Carson played so often. But Kelly (and the script) infuse the character with real compassion and love, and Bill turns out to be the best person in the entire group. Viewers may find themselves rooting for him against the feckless Hartwell! The tone of the film wavers, however, between light-hearted romance and a much darker side, especially in the depiction of a dance marathon and a rather horrific accident at Bill's garage.The cast is rounded out by the dependable Jane Darwell as Kitty's mother, an impish but not yet thoroughly obnoxious Mickey Rooney as Kitty's younger brother, and Spencer Charters as Kitty's ne'er-do-well father.

A mild but decent low-class soaper, well directed by under-rated B director Roy William Neill -- best remembered, these days, for the Sherlock Holmes series starring Rathbone and Bruce that he directed a decade later. There is a spiffy cast in this piece and they give good performances.It is interesting to compare this Columbia Picture with its Pre-Code contemporaries from the majors and contrast its constant moral tone with the sexier stuff produced by, say, Lubitsch at Paramount. Part of the reason, doubtless, is that a minor studio like Columbia didn't have leverage against the increasingly powerful Production Code that would swamp the sex comedy even at the Majors by the end of the year. But the most of it, I don't doubt, is that the Majors had an eye on the big cities and European markets, while Columbia still was concentrating on the smaller US cities and rural markets.