Carlo Roma and his foster-son, Toma, and their friend Beppo, are living a happy fisherman's life in San Francisco until Carlo's widowed sister-in-law, Stella, shows up with her brat-son, Rudolph, and takes over. Poor Toma gets his feelings hurt and the idea he "isn't wanted" and runs away

Little Iodine does her best to break up the marriage of her parents, ruin a romance and cost her father his job.

The familiar song is adapted into a cartoon short. Abdul The Bulbul-Ameer, a rotund Arab, gets into a brawl with Ivan Skavinski Scavar, a preening Russian Cossack, over an offense to Abdul's pride. Groucho Marx and a newsreel crew provide running commentary as the pair pummel each other and the surrounding square.

Cuban Fireball is a vehicle for the combustible talents of Estelita Rodriguez, here cast as "herself." The plot finds Estelita arriving in Los Angeles to claim a multimillion-dollar inheritance. To fend off fortune hunters, she disguises herself as a meek little old lady.

Broadway producer Earl Carroll was a Ziegfeld-like entrepreneur who staged lavish revues featuring attractive young ladies. Carroll's annual "Vanities" provided story material for three Hollywood films: Murder at the Vanities (34), A Night at Earl Carroll's (40) and Earl Carroll Vanities (45). This last film was produced by Republic Pictures, a bread-and-butter studio specializing in Westerns and serials; Republic had made musicals before, but few of them were expensive enough to allow for lavish production numbers. Earl Carroll Vanities is likewise rather threadbare, though some of the individual musical highlights aren't bad. The plot, such as it is, concerns financially strapped nightclub owner Eve Arden, who finagles Earl Carroll into staging one of his revues at her club.

The nosy antics of a honeymooner puts an unwed couple in the same room.

A newsman (Walter Pidgeon) falls in love on Cape Cod with the judge (Rosalind Russell) his angry boss (Edward Arnold) expects him to discredit.

An Arab sheik's daughter (Maureen O'Hara) avenges his death, blamed on Hassan (Paul Christian) and his Black Riders.

The proprietor of an ice-skating revue promotes a peanut-vendor to a management position based on suggestions he made to improve the act of the show's star, who also happens to be the owner's wife. However, he soon begins to notice that his new manager is paying more attention to his wife than he believes is appropriate.