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It’s Love I’m After 1937 Colorized

It’s Love I’m After 1937 Colorized

The tops in topsy-turvy romance!Oct. 08, 1937USA90 Min.Approved


Review: It’s Love I’m After 1937 Colorized – Revisiting a Romantic Comedy Classic

It's Love I'm After 1937 Colorized


In the annals of classic Hollywood cinema, few romantic comedies shine as brightly as “It’s Love I’m After” (1937). Directed by Archie Mayo and featuring the dynamic trio of Leslie Howard, Bette Davis, and Olivia de Havilland, this delightful film captures the essence of 1930s screwball comedy with its wit, charm, and impeccable performances. In this article, we delve into the world of “It’s Love I’m After,” exploring its narrative, characters, and enduring appeal. Additionally, we discuss the impact of its early colored version and its significance in the context of film history.

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Understanding It’s Love I’m After 1937 Colorized: Director, Cast, and Genre

“It’s Love I’m After” is a prime example of the screwball comedy genre that flourished during the Golden Age of Hollywood. Directed by Archie Mayo, a versatile filmmaker known for his work across various genres, the film benefits from his deft touch in balancing humor and romance.

The cast of “It’s Love I’m After” is nothing short of stellar. Leslie Howard, best known for his dramatic roles, showcases his comedic prowess as Basil Underwood, a vain and egotistical stage actor. Bette Davis, in a rare comedic role, plays Joyce Arden, Basil’s equally temperamental and dramatic fiancée. Olivia de Havilland rounds out the trio as Marcia West, a star-struck young woman who becomes infatuated with Basil. Their chemistry and comedic timing elevate the film, making it a standout in the genre.

Exploring the World of It’s Love I’m After 1937 Colorized: Plot and Characters

“It’s Love I’m After” revolves around the tumultuous relationship between Basil Underwood and Joyce Arden, both celebrated stage actors with larger-than-life personalities. The film opens with the couple’s constant bickering, a hallmark of their volatile yet passionate relationship. Despite their frequent quarrels, they are deeply in love and engaged to be married.

The plot thickens when Marcia West, a young socialite, becomes infatuated with Basil after seeing him perform on stage. Marcia’s fiancé, Henry Grant (Patric Knowles), desperate to break her obsession, seeks Basil’s help in disillusioning her. Reluctantly, Basil agrees, setting off a series of comedic misunderstandings and romantic entanglements.

Basil’s attempts to discourage Marcia only deepen her infatuation, leading to more chaos and hilarity. Meanwhile, Joyce grows increasingly jealous and frustrated with the situation. The film’s climax features a series of slapstick escapades and witty exchanges, ultimately culminating in a resolution that reaffirms the love between Basil and Joyce.

The Art of Film Colorization

Film colorization, the process of adding color to black and white footage, has been both praised and criticized over the years. While some see it as a way to breathe new life into classic films, others argue that it can detract from the original artistic intent. In the case of “It’s Love I’m After,” colorization offers a new dimension to the film’s visual appeal.

The art of colorization involves careful consideration of the film’s original lighting, costumes, and set design. By adding color, filmmakers can enhance the visual storytelling, making scenes more vibrant and engaging for contemporary audiences. However, the process must be handled with care to preserve the integrity of the original film.

Early Colored Films: A Brief History

The history of film colorization dates back to the early 20th century, with various techniques being employed to add color to black and white films. Early methods included hand-painting individual frames and using tinted filters. These labor-intensive processes laid the groundwork for more advanced colorization techniques developed in later decades.

The introduction of Technicolor in the 1930s revolutionized the film industry, allowing for richer and more consistent color reproduction. Films like “The Wizard of Oz” and “Gone with the Wind” showcased the potential of color cinema, setting new standards for visual storytelling. However, many black and white classics from this era have since been colorized to appeal to modern audiences, sparking debates about the merits and drawbacks of such alterations.

It’s Love I’m After 1937 Colorized and Its Early Colored Version

The decision to release “It’s Love I’m After” in a colorized format has sparked interest and debate among film enthusiasts. While the original black and white version captures the elegance and charm of 1930s cinema, the colorized version offers a fresh perspective, highlighting details that might otherwise go unnoticed.

Colorization can enhance the visual impact of the film, drawing attention to the lavish costumes, intricate set designs, and subtle nuances of the actors’ performances. In “It’s Love I’m After,” the colorized version brings a new vibrancy to the film’s comedic and romantic elements, making it more accessible to contemporary viewers.

The Debate Over Film Colorization

The colorization of classic films is a topic of ongoing debate among cinephiles and industry professionals. Proponents argue that colorization can attract new audiences, making older films more visually appealing and relatable. They also point out that colorized versions can coexist with the original black and white versions, offering viewers a choice.

Critics, however, contend that colorization can compromise the artistic integrity of the original film. They argue that black and white cinematography is a deliberate artistic choice, and altering it can change the film’s mood, tone, and overall impact. In the case of “It’s Love I’m After,” some purists may prefer the original version for its authentic 1930s aesthetic.

Examining It’s Love I’m After 1937 as an Early Colored Film

Viewing “It’s Love I’m After” as an early colored film provides an interesting case study in the art and science of colorization. The film’s playful and vibrant tone lends itself well to the addition of color, enhancing the comedic and romantic elements that define the screwball comedy genre.

The colorization process brings out the lush details of the film’s production design, from the opulent stage sets to the fashionable costumes worn by the characters. This new visual dimension can deepen the audience’s immersion in the story, making the film feel more immediate and engaging.

However, it is essential to strike a balance between enhancing the film’s visual appeal and preserving its original artistic intent. Successful colorization respects the filmmaker’s vision, using color to complement and elevate the storytelling without overshadowing the film’s inherent charm.

Influence and Legacy: It’s Love I’m After 1937 Colorized’s Impact on Cinema

“It’s Love I’m After” has left a lasting legacy in the realm of romantic comedies, influencing subsequent generations of filmmakers and actors. Its sharp wit, dynamic performances, and intricate plot twists have set a high standard for the genre, inspiring countless films that followed.

The film’s impact can be seen in the works of later directors who have drawn on its blend of romance and comedy to craft their narratives. The screwball comedy genre, in particular, owes much to the pioneering efforts of films like “It’s Love I’m After,” which demonstrated the enduring appeal of witty banter, eccentric characters, and farcical situations.

Director’s Cinematic Legacy: Beyond It’s Love I’m After 1937 Colorized

Archie Mayo, the director of “It’s Love I’m After,” had a prolific career in Hollywood, contributing to various genres and styles. His versatility as a filmmaker is evident in his diverse body of work, which includes dramas, comedies, and musicals. Mayo’s ability to elicit strong performances from his actors and his keen sense of pacing and timing have left an indelible mark on classic Hollywood cinema.

Beyond “It’s Love I’m After,” Mayo directed several notable films, including “The Petrified Forest” (1936), another collaboration with Leslie Howard and Bette Davis. His filmography reflects a deep understanding of human emotions and relationships, often exploring themes of love, ambition, and redemption.

Themes Explored in It’s Love I’m After 1937 Colorized

“It’s Love I’m After” explores several enduring themes, including the complexities of love, the folly of vanity, and the humorous side of human nature. The film’s central romance between Basil and Joyce highlights the challenges and rewards of maintaining a relationship in the face of external pressures and personal insecurities.

The theme of vanity is embodied in Basil’s character, whose egotism and self-absorption create many of the film’s comedic conflicts. Through his interactions with Marcia and Joyce, Basil learns valuable lessons about humility, sincerity, and the true nature of love.

Humor plays a crucial role in the film, serving as both a source of entertainment and a vehicle for deeper insights into human behavior. The witty dialogue, physical comedy, and absurd situations all contribute to the film’s lighthearted yet thought-provoking exploration of relationships and personal growth.

Reception and Controversy Surrounding It’s Love I’m After 1937 Colorized

Upon its release, “It’s Love I’m After” received positive reviews from critics and audiences alike, who praised its sharp writing, strong performances, and delightful humor. The film’s success cemented the reputations of its leading actors and contributed to the popularity of the screwball comedy genre.

The release of the colorized version, however, has sparked controversy among purists who argue that the original black and white film should be preserved in its authentic form. While some viewers appreciate the added visual appeal of the colorized version, others feel that it detracts from the film’s original charm and artistic integrity.

Where to Watch It’s Love I’m After 1937 Colorized Online

For those eager to experience the timeless brilliance of “It’s Love I’m After,” the film is available on various streaming platforms, ensuring accessibility to audiences worldwide. Whether in its original black and white format or the early colored rendition, Mayo’s delightful romantic comedy remains essential viewing for cinephiles and newcomers alike.

Popular streaming services such as Amazon Prime Video, Hulu, and Criterion Channel often feature classic films, including “It’s Love I’m After,” in their catalogs. Additionally, the film may be available for purchase or rental on platforms like iTunes and Google Play.

FAQs About It’s Love I’m After 1937 Colorized

Common queries surrounding “It’s Love I’m After” range from its production history to its thematic resonance in modern times. By addressing these frequently asked questions, viewers can gain a deeper understanding of the film’s enduring appeal and cultural significance.

Q: Is “It’s Love I’m After” based on a play or original screenplay?

A: “It’s Love I’m After” is based on the play “Gentlemen After Midnight” by Maurice Hanline, which provided the framework for the film’s witty and engaging narrative.

Q: What is the significance of the film’s title?

A: The title “It’s Love I’m After” reflects the central theme of the film: the pursuit of true love amidst the chaos and comedy of everyday life. It underscores the romantic entanglements and personal growth experienced by the characters.

Q: What sets “It’s Love I’m After” apart from other screwball comedies of its time?

A: The film’s standout performances by Leslie Howard, Bette Davis, and Olivia de Havilland, combined with its sharp writing and deft direction by Archie Mayo, make “It’s Love I’m After” a unique and enduring example of the screwball comedy genre.


In conclusion, “It’s Love I’m After” (1937) remains a timeless classic in the annals of romantic comedy, its charm and wit continuing to captivate audiences nearly a century after its release. The early colored version offers a fresh perspective on this beloved film, highlighting its visual and narrative strengths while sparking debate among purists and modern viewers alike. As we revisit this cinematic gem, let us celebrate the enduring legacy of “It’s Love I’m After” and the talented artists who brought it to life, ensuring its place in the pantheon of classic Hollywood cinema.

It’s Love I’m After 1937 Colorized
Original title It's Love I'm After
IMDb Rating 7.4 2,658 votes
TMDb Rating 6.9 26 votes


Archie Mayo


Leslie Howard isBasil Underwood
Basil Underwood
Bette Davis isJoyce Arden
Joyce Arden
Patric Knowles isHenry Grant Jr.
Henry Grant Jr.
George Barbier isWilliam West
William West
Bonita Granville isGracie Kane
Gracie Kane
Georgia Caine isMrs. Kane
Mrs. Kane