If one were to pit Franchot Tone against Clark Gable in vying for a woman’s affections on screen who would win? One might say the answer depends on the woman. In the case of Love on the Run, Joan Crawford is our leading lady, but although she was married to Tone offscreen at the time of the film, that man does not get the slightest chance to woo her in this picture.
Tone and Gable are dueling reporters of sorts as Barney Pells and Mike Anthony, respectively. They are London roommates and foreign correspondents for rival New York newspapers. Mike is consistently vowing to share any scoops with his pal, but always leaves him in the lurch. On the first day of our story, the two flip a coin to see who will cover the wedding of a socialite to a prince and who will attend the takeoff of a baron and baroness who are pilots. When Mike arrives at the church, he finds Crawford as socialite Sally Parker fleeing from the premises and tracks her down.
The reporter wins over the girl’s trust and conceals his profession. To sneak her out of her hotel, however, he borrows the aviation outfits of the baron and his wife, and the two take off in that couple’s plane using Mike’s moderate flying skills. To get away with this, however, Mike tied up the baron, baroness and his pal Barney who was interviewing them at the time. The two crash land in France and begin an adventure of hiding from the public, secretly reporting news stories back home and avoiding the baron and baroness, who turn out to be frauds/spies.
Tone intercepts the couple repeatedly throughout their journey and is rewarded by being tossed from a train and tied up again and again to allow Mike to continue getting the scoop. When Mike’s profession is uncovered, it creates turmoil in the romance blossoming between he and Sally, but nothing that a movie plot cannot overcome.
Love on the Run is not the love triangle I expected it to be. If anything Sally and Mike band together to thwart Barney. It was Mike’s treatment of his roommate that particularly turned me off to the protagonist. He is so brutal in his treatment of the man –at one point forcing Barney, who is rescuing Mike, to switch places with him and become a hostage to the spies– that I found it difficult to laugh at.
The romantic plot is not particularly enthralling. It is a slow-growing love between Sally and Mike as the two initially annoy each other, as is often the case in movies, but it is nothing if not predictable. Crawford, as you might have gathered from my lack of mention of her thus far, offers nothing novel to the story. Any woman could have played this part and the picture would have remained the same.