Thirty Day Princess

Thirty Day Princess

6.8

May 18 1934

1h 14m

Comedy, Romance

A European princess arrives in New York City to secure a much-needed loan for her country. She contracts the mumps, and an actress who looks exactly like her is hired to impersonate her.

Sylvia Sidney

Sylvia Sidney

Nancy Lane / Princess Catterina

Cary Grant

Cary Grant

Porter Madison III

Edward Arnold

Edward Arnold

Richard M. Gresham

Henry Stephenson

Henry Stephenson

King Anatol XII

Recommendations

See all
Kiss and Make-Up
5.2

Kiss and Make-Up

1934

Dr. Maurice Lamar is a noted plastic surgeon who makes his rich clients beautiful, and also makes them. He makes Eve Caron, the wife of Marcel Caron, so satisfied with his skilled hands that she leaves Marcel and marries Maurice. They go on a Mediterranean honeymoon, where he soon finds the effects of his own beauty regulations are more than he can handle. He bids adieu to his new bride, and wings it back to Paris with the intention of giving up his practice and becoming a scientific researcher... after winning back the love of his simple, unadorned secretary, Anne.

Night and Day
5.7

Night and Day

1946

When his first stage show fails, songwriter Cole Porter goes off to fight in WWI until, injured, he lands in a hospital. He impresses nurse Linda Lee with his creativity, but their budding romance must wait as Cole heads home. Back in New York, he mounts a series of popular shows, and when his work brings him back to Europe, he eventually marries Linda. But success doesn't spare him from marital complications or bad news about a beloved relative.

Station Six-Sahara
5.9

Station Six-Sahara

1963

A beautiful blonde joins a small group of men running an oil station in the Sahara Desert and starts the emotions soaring.

People
8.3

People

1969

The Red Mountain Tribe hangs out in my backyard. "Lipton's lovely home movie PEOPLE, in its affection for valuable inconsequential gestures, indicates in the course of its three minutes why there has to be a continuing alternative to the commercial cinema." – Roger Greenspun, The New York Times