The Devil to Pay!

Boom microphone shadow is unmistakable in a number of in a number of interior scenes toward the beginning of the film.

When Willie is in conference with Lord Leland, the details of the fireplace can be seen in detail, and it is obvious that the inside is a flat painted to resemble a hearth.

This is quite a pleasing little story as "Willie" (Ronald Colman) - the playboy son of "Lord Leland" (Frederick Kerr) returns, penniless, from his latest dud adventure in Africa. Soon his smoothing talking manages to reconcile him with his initially irritated father, whilst he also pries the attentions of linoleum heiress "Dorothy" (Loretta Young) away from the equally penniless "Grand Duke Paul" (Paul Cavanagh) and we 've got a fun little love triangle developing.

Lively romantic comedy, well cast by up-and-coming producer Sam Goldwyn. Colman's central as the unpredictable Willie, son of a wealthy father who's given up on his wacky offspring.

"The Devil to Pay" is an early sound comedy romance that has some very terse and sharp dialog from its male lead, Willie Hale, played by Ronald Colman. Opposite him are two young actresses who would go on to film stardom.

Devil to Pay, The (1930) ** (out of 4) An adventurer (Ronald Coleman) who can't do anything right in life gets involved with a woman (Loretta Young) who's about to be married to another man, which sets off various events. This film is pretty routine even for 1930 as we've seen this type of love triangle in various films.

Charming as ever, Colman virtually carries the film on his own suave shoulders. True, 18-year-old Loretta Young appears less starry-eyed and more animated than usual.

Willie Leyland (Ronald Colman) returns to England to old girlfriend (Myrna Loy), but meets new girl (Loretta Young). The repartee between the characters is delightful.

Ronald Colman plays a prodigal son. While he is NOT a bad guy, he is a bit flighty and hasn't done a lot with his life other than travel the world and have a jolly good time.

In Ronald Colman's Oscar winning performance in A Double Life, he plays an actor who gets way too deep into his characters. It's pointed out that when he's in a comedy he's just the life of the party and when in a drama like Othello, we find out he becomes way too much like the character he's playing.