How sad is this?

Absolutely Brilliant!

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Franchot Tone (Peter Lawrence), Mickey Rooney (Mike), Ralph Morgan (Reggie Odell), Jessie Ralph (sheriff), Barnett Parker (Hotchkiss), Gladys George (Carlotta Lee), Ted Healy (Jimmy Slattery), Frank Jenks (Joe Cannon), Virginia Weidler ("Jake"), Fay Holden (Mary), Julius Tannen (Mr Hiller), Henry Kolker (Sam Ellinger), Robert Middlemass (police commissioner), Bea Nigro (elegant woman at dock), Jack Norton (barkeep), Lillian Read (hat check girl), Gil Patric, Ernie Alexander, Don Brodie, Cyril Ring (reporters), Sam Ash (headwaiter), Georgie Billings, Leonard Kibrick, Buster Slaven (Mike's friends), Marie Blake (Hillier's secretary), Sidney Bracey (waiter), June Brewster (Betty Bartholomew, a chorus girl), Chester Clute (pants salesman), Oscar O'Shea ("Pop", the stage doorman), Jules Cowles (hotel doorman), Richard Cramer (process server), Edgar Dearing (Detective "Pinch"), Leigh De Lacey (neighbor), Sarah Edwards (Mrs Warden), Jim Farley (plainclothesman), Chester Gan (Louie), Howard Hickman (editor), Leyland Hodgson (chauffeur), Phillip Terry (Club 44 radio man).Director: RICHARD THORPE. Screenplay: Marion Parsonnet, Harry Ruskin, William R. Lipman. Original screen story: Lou Heifetz and Herbert Klein. Photography: John Seitz. Film editor: Conrad A. Nervig. Music: Edward Ward. Supervising art director: Cedric Gibbons. Set decorator: Edwin B. Willis. Costumes: Adrian. Art director: Joseph C. Wright. Assistant director: Tom Andre. Sound recording: Douglas Shearer. Producer: Frederick Stephani. Copyright 10 January 1938 by Metro-Goldwyn-Mayer Corp. New York opening at the Rialto, 27 January 1938. U.S. release: 14 January 1938. Australian release: 14 July 1938. 8 reels. 73 minutes.SYNOPSIS: Fading Broadway star adopts two orphans as a publicity stunt.NOTES: Academy Award, Mickey Rooney, Best Male Juvenile of 1938. Last film of Ted Healy. COMMENT: A pleasant film with a most attractive cast going their customary paces in a zippy little script worked up by no less than five writers. True, Mickey Rooney has all the best lines, but he makes the most of them. In fact, director Richard Thorpe virtually allows Mickey the run of the movie. Only Virginia Weidler and the late Ted Healy (the originator of "the Three Stooges". The original billing in both vaudeville and Hollywood was Ted Healy and his Three Stooges) are occasionally allowed to give Mickey any real competition.

After her latest Broadway play bombs, stage star Gladys George (as Carlotta "Charlie" Lee) is concerned. It's been four flops in a row for Ms. George and she needs a hit. George decides to play the lead in "Carolina" - but radio and newspaper celebrity reporter Franchot Tone (as Peter "Pete" Lawrence) thinks it will ruin her career. He hopes his "New York Chronicle" column will queer the deal. The bickering pair have been an item since their youth - or so we're led to believe. George is listening to Mr. Tone's "Broadway Chatter" radio show when he reports on the death of a window washer. Tone wants his audience to find parents for newly orphaned Mickey Rooney and Virginia Weidler (as Mike and Jake O'Toole). This turns into a convoluted publicity stunt, with George getting the kids...George and Tone are game, but their coupling sends off no sparks. However, this film won't give you a headache - in spite of its unappealing title. Director Richard Thorpe and the MGM crew move the cast around skillfully, with George walking up toward the camera for an exit and her co-star deftly handling physical comedy. The supporting cast is not only strong, but also given opportunities to shine. Most obviously on his mark is Mr. Rooney, although he is miscast as a 13-year-old. It is surprising to see Frank Jenks (as Joe Cannon) hold his own in a film with Rooney and the adorable little Miss Weidler. After he is offered advice on reincarnation, Mr. Jenks is on a roll which lasts throughout his screen time. Also notable, this was the last film for Ted Healy; the man who gave us his "Three Stooges" died shortly before its release.****** Love Is a Headache (1/14/38) Richard Thorpe ~ Gladys George, Franchot Tone, Mickey Rooney, Frank Jenks

In the late 1930s, MGM turned out some high-concept programmers that are fun to watch. None of these, to my knowledge, cause migraines-- just fits of laughter. Love Is a Headache is one of these charming films.The story, which is rather simplistic, is about a fading actress (Gladys George) who adopts two street urchins as a publicity stunt. The urchins are portrayed by Mickey Rooney and Virginia Weidler, who convey a realistic and believable sibling relationship. (The studio would re-team Rooney and Weidler in a few other films, notably in an installment of the Andy Hardy series.) The picture also benefits from the presence of MGM contract player Franchot Tone (who was Mr. Joan Crawford at this time). Tone plays Miss George's love interest and is in all likelihood going to become a daddy to the two urchins. It's nice to see him in more of a 'family'-type comedy.

This gives the superb Gladys George a good, meaty role. The plot is a bit well-worn. But she is in all her glory as a temperamental grand lady of the stage with a heart of gold. (The plot involves no drinking on her part, which is a nice change from the general typecasting her tough voice and soft manner brought.) Let's get one thing clear: The title means nothing. It seems slapped on out of desperation. What romantic title could not be called "Love Is A Headache"? From "Gone With the Wind" to "Mala Noche," with many stops in between, there could have been hundreds of movies with that title.The supporting cast is fun. Franchot Tone is fine. Mickey Rooney and Virginia Weidler are real pros.Though I liked this primarily because of Ms. George, I have to say that Rooney shines. He had that quality the camera loved that certain big stars had. Marilyn Monroe is one of them. When either of these two appeared in a movie's early scenes, the audience sits up and says "Whoa! Who is THIS?"