
Carol Corliss, a glamorous but deeply insecure movie star, constantly hides behind disguises to escape the pressures of fame. While on a moonlit getaway she encounters a rugged outdoorsman who is indifferent to her celebrity, sparking a whimsical adventure filled with song, dance and unexpected romance.
Does In Person have end credit scenes?
No!
In Person does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of In Person, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

George Davis
Taxi Driver (uncredited)

George Brent
Emory Muir

William B. Davidson
Director Bill Sutter

Ginger Rogers
Carol Corliss

Alan Mowbray
Jay Holmes

Grant Mitchell
Judge Thaddeus Parks

Samuel S. Hinds
Dr. Aaron Sylvester

Bud Jamison
Man in Elevator

Robert McKenzie
Theater Manager

Dorothy Vernon
Country Store Customer

Monte Vandergrift
Studio Representative

Sherry Hall
Studio Representative

Lee Shumway
Studio Representative

Lew Kelly
Mountain Man

Spencer Charters
Parson Calverton Lunk

Louis Mason
Sheriff Twing

Tiny Jones
Tiny Woman in Theater

Joan Breslau
Minna

Jack Hatfield
Studio Representative
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Read the complete plot summary of In Person, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Glamorous movie star Carol Corliss Ginger Rogers suffers from agoraphobia, a fear of large crowds that keeps her fans at arm’s length and forces her to hide behind a veiled, buck-toothed disguise whenever she steps into public view. Her psychologist, Dr. Aaron Sylvester Samuel S. Hinds, believes a mountain escape could steady her nerves, and after she faints in a crowded street, outdoorsman Emory Muir George Brent comes to her aid, hardly able to picture the glamorous actress beneath the drab exterior.
Carol proposes a ruse to reach tranquility: she pretends to be the plain Miss Clara Colfax and convinces Emory to take her to his secluded mountain retreat, where she can recover away from the prying eyes of Hollywood. He reluctantly agrees, granting her a stay in his lake cabin. There, Emory spots Carol swimming openly, still unrecognized by the world, and his curiosity about the woman behind the mask grows. He even phones her psychiatrist, who refuses to name his patient, turning the mystery into a private, insistently unanswered question. In town, Emory discovers a photograph of Carol Corliss and realizes that his quiet guest “Clara” is the famous actress, a revelation that challenges the boundaries of their budding rapport.
When Carol finally decides to reveal her true identity, Emory remains cool and unimpressed, pretending to doubt her confession as a way to protect both of them from disruption. Inside the cabin, Carol hears herself on the radio singing “Got a New Lease on Life,” and she sings and dances along for Emory, though his skepticism lingers. The moment of proof comes only when she leads him to the movie theater showing her latest film, and the world learns the truth along with him.
As their situation deepens, Carol begins to feel a genuine pull toward Emory, drawn to his rugged sincerity rather than the glittering spotlight that once defined her. Yet the delicate balance of desire and fame is unsettled when Jay Holmes Alan Mowbray, her frequent film co-star, arrives at the lake to declare his love for her, injecting a new layer of tension into the evolving bond between Carol and Emory. The story weaves innocence and glamour, risk and romance, as a star tries to navigate real emotion away from the glare of the cameras, with the mountains offering both sanctuary and complication.

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