The violinists performance and the action sequences on the racetrack are all about symmetry, intended to be mimicked by the flowering relationship of its two aging stars, but the incompatibility of Stanwyck's witty reporter and Gable's gruff and [seductively?] violent racer lead the film hurtling towards a crash after the credits.
This kind of movie used to be called a programmer. It has two pros directed by a first-rate craftsman in a routine picture with some flourishes. The difference, however, is that the stars are perfectly suited by age and stature and they have a cinematic history. There is a sequence in a nightclub with violinists playing a waltz, strolling through the crowd that is virtually a tribute to them.