Topper Takes a Trip (1936)

Topper (1938) is the spirited sequel to the 1937 supernatural comedy Topper, one of the most charming and original fantasy comedies of Hollywood’s Golden Age. While sequels often pale in comparison to their predecessors, Topper Takes a Trip retains much of the original’s whimsical tone, buoyed by a returning cast, a lighthearted script, and the luminous presence of Constance Bennett.

Produced by Hal Roach and directed by Norman Z. McLeod (renowned for his work on comedies like Horse Feathers and The Secret Life of Walter Mitty), this follow-up continues the delightful blend of screwball comedy and ghostly hijinks that made the first film a hit. Though it lacks Cary Grant—whose star power loomed large in Topper—the sequel makes up for it with its focus on Constance Bennett's character and the deepening of the title character's personal arc.

Plot Summary

The film begins shortly after the events of Topper. The mischievous and glamorous ghost Marion Kerby (Constance Bennett) remains in limbo between Earth and the afterlife. Although her husband George (Cary Grant in flashback only) has already "moved on," Marion is stuck—still tethered to the mortal world because she hasn't done enough good deeds to earn her place in the afterlife.

Her mission becomes clear: help the once-stuffy but now spiritually awakened banker Cosmo Topper (Roland Young) reconcile with his estranged wife, Clara (Billie Burke), from whom he has separated as a result of the wild and ghostly escapades in the first film. Clara, offended by Cosmo's erratic behavior and suspected philandering, is vacationing on the Riviera, where much of the film takes place.

Marion, invisible to everyone but Cosmo, follows him to France and orchestrates a series of increasingly outrageous stunts to reunite the Toppers. Along the way, she meddles with the romantic ambitions of a suave gigolo (Alan Marshal), frustrates a vain socialite (Verree Teasdale), and plays matchmaker and mischief-maker with equal zest. Her antics culminate in a comically chaotic courtroom scene that brings the couple back together—and finally earns Marion her wings.

Characters and Performances

Constance Bennett steals the show once again as Marion Kerby. With her quick wit, poised elegance, and ethereal charm, she makes the ghostly protagonist a beacon of 1930s sophistication. While Cary Grant's absence is certainly felt, Bennett proves more than capable of carrying the sequel solo. Her comedic timing is razor-sharp, and she infuses the role with a mix of glamour and mischief that never becomes grating. Marion is both the film’s agent of chaos and its emotional heart.

Roland Young, reprising his role as Cosmo Topper, deepens his performance in this second outing. No longer merely a henpecked and fussy banker, Topper is now a more sympathetic and self-aware man struggling to repair his marriage while navigating supernatural absurdities. Young brings a deft, deadpan touch to the role, balancing exasperation and bewilderment with a warmth that endears him to the audience.

Billie Burke is once again delightful as Clara Topper. Her fluttery voice and arch facial expressions bring comedic verve to what could have been a one-note role. Burke, famous for playing the Good Witch Glinda in The Wizard of Oz the following year, exudes an aristocratic cluelessness that is both funny and oddly lovable.

Alan Marshal and Verree Teasdale add extra flavor as supporting players, though their roles are more plot devices than fully fleshed-out characters. A notable addition is Skippy the dog, returning from the first film (where he played “Asta” in The Thin Man series) as the ghostly dog Mr. Atlas—adding another layer of absurd charm.

Direction and Visual Style

Norman Z. McLeod handles the direction with a light touch, allowing the film's farcical moments to build naturally without ever feeling forced. The pacing is brisk, and the Riviera setting (though mostly recreated on backlots) adds a colorful, exotic backdrop that contrasts with the stuffy drawing rooms of the first film.

The special effects, while rudimentary by today’s standards, were clever for their time and remain amusing. Marion's ability to manipulate the physical world while invisible leads to a series of delightful slapstick moments involving levitating cocktails, flying handbags, and disrupted dinner parties. These effects are executed with old-school charm and a clear sense of fun.

The cinematography, handled by Norbert Brodine, enhances the fantastical tone with soft focus shots and luminous lighting, particularly for the scenes featuring Marion. Though it's not a visually groundbreaking film, Topper Takes a Trip uses its modest effects and elegant production design effectively to create a magical atmosphere.

Themes and Tone

At its core, Topper Takes a Trip is a comedy about second chances, marital renewal, and the liberating power of spontaneity. The film explores how even the most staid and conservative people can be transformed through experiences that shake up their worldview—whether those experiences come from ghosts, or from life itself.

The film also lightly touches on themes of redemption, as Marion seeks a good deed worthy of heaven. But it never becomes moralistic. Instead, it wraps its themes in a glossy, whimsical package that never takes itself too seriously.

The tone is quintessential screwball comedy, blending absurd situations with witty dialogue and romantic entanglements. There’s a sweetness beneath the silliness, and that emotional undercurrent is what gives the film its enduring appeal.

Legacy and Conclusion

Topper Takes a Trip may not have the same cultural resonance or iconic pairing as the original film, but it remains a charming and thoroughly enjoyable sequel. It exemplifies a period in Hollywood when the supernatural was played for laughs, and when elegance and absurdity could coexist in the same scene.

As a follow-up, it succeeds largely due to Constance Bennett’s luminous presence and the continued development of Roland Young’s lovable everyman. It’s a frothy, feel-good fantasy that doesn’t aspire to high art, but accomplishes exactly what it sets out to do: entertain, enchant, and leave you smiling.

Rating:

A delightful, ghostly romp full of charm and wit, with Constance Bennett shining in a whimsical sequel that proves the afterlife can be both stylish and funny.