Money Means Nothing

In Money Means Nothing, a breezy British comedy from the early sound era, a gleefully carefree aristocrat finds himself entangled in a web of romantic misadventures and social doublespeak. Earl Egbert enjoys the perks of his title and the whimsy of city life, but his courtship of Livia Faringay runs up against a bustling cast of schemers and social climbers. Augustus Bethersyde, Daysie de Lille, and the enigmatic Angel drift into the action, turning conversations into witticisms and plans into pratfalls. The humor hinges on wordplay, mistaken identities, and the clash between moneyed pretensions and genuine affection. The tone stays light, with a strong ensemble delivering crisp timing. The film balances charm with sly social satire throughout without feeling cynical.

The film released in 1932 in Britain, directed by Harcourt Templeman and Herbert Wilcox. It benefits from an original screenplay by Miles Malleson and Douglas Furber, pairing a witty dialogue style with a stylish early sound era sensibility and lively character work.

Box office records for Money Means Nothing are not readily available, a common situation for British comedies of the early 1930s. The film seems to have a modest footprint in its original release, with little documented impact on global grosses.

Cultural impact of the film appears limited by time and obscurity. It is not known for iconic quotes or standout scenes that echoed beyond the cinema. Instead it sits among early talkies that showcase ensemble humor and social satire without becoming a lasting pop culture touchstone today in Britain's history.

Reception at the time framed it as a light witty farce rather than a bold social critique, with praise for the cast's timing. Thematically the film comments on how money and status shape romance, while maintaining a breezy pace and a playful tone. It preserves charm through dialogue and ensemble.