Well, the first eight minutes are spent on a long, slow comedy bit between Seth (Phillips Lord) and the tax man, in an Abbott & Costello-type who's-on-first routine. That just goes on way too long. Audiences of the day would have been familiar with radio personality Seth Parker, kind of a Pa Kettle kind of guy. Bette Davis is "Mary", his daughter, who is trying to figure a way to get to the barn dance. This was only Davis' fourth role, and she plays it very straight forward... at twenty-three, she hadn't yet developed her sophisticated, scheming style. Effie Palmer is Ma Parker - in one of the two films she made, and both in 1931. One of the characters talks about going to Bangor ("Bangah"), presumably Maine, but the only new england accent we hear is one very badly-done one. The actress playing Lizzie (Sophia Lord... Phillips' actual wife) was actually BORN in Connecticut, so you'd think she would be more familiar with a new england accent! I guess that explains why she only (over)acted in this one film. Oscar Apfel (from Shop around the Corner, and SO many others) is a minor character here, but he doesn't have his usual giant, twitchy, mustache, so you almost don't recognize him. Not at all coherent; the main story seems to be Mary and David sneaking around to try to spend time together alone, but Mary's father is determined to keep them apart. There's also the side story of Rufe Turner (Stanley Fields) trying to take his son back from the man who raised him. Again, Fields' own story is quite interesting; Fields had been a boxer, moved into vaudeville, then into films. Everyone's real life story is much more interesting than the story we are watching here. Seth and his cronies sit around and sing a beautiful version of Love's Old Sweet Song at one point, but other than that there isn't much going on here. Some of the other songs used are more from the south - several Stephen Foster songs, Turkey in the Straw, which isn't really appropriate for a film taking place in Maine. Directed by William Seiter, who worked with the Marx Brothers and Laurel and Hardy later in his career. This wasn't one of his better films.