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Don't Change Your Husband (1919)

Leila Porter comes to dislike her husband James, a glue king who is always eating onions and looking sloppy. But after she divorces him and marries two-timing playboy Schuyler Van Sutphen the now-reformed James looks pretty good.

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Cast

Complete credited cast:
...
James Denby Porter
...
Leila Porter
...
Schuyler Van Sutphen
Sylvia Ashton ...
Mrs. Huckney
...
The Bishop, Rt. Rev. Thomas Thornby
...
Nanette aka Toodles
...
Butler
Ted Shawn ...
Faun
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Storyline

Leila Porter comes to dislike her husband James, a glue king who is always eating onions and looking sloppy. But after she divorces him and marries two-timing playboy Schuyler Van Sutphen the now-reformed James looks pretty good.

Plot Summary | Add Synopsis

Genres:

Comedy

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Release Date:

26 January 1919 (USA)  »

Also Known As:

Après la pluie, le beau temps  »

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Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

This is the first collaboration between Gloria Swanson and Cecil B. DeMille. See more »

Quotes

Title Card: The Dangers of a Fancy Dress Ball lurk as insidiously behind the merriment as a Serpent under Rose Leaves - its very Romance is Temptation!
See more »

Connections

Referenced in Cecil B. DeMille: American Epic (2004) See more »

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User Reviews

 
So pertinent to our times, and it's the man who has to look good to win!
6 December 2009 | by (United States) – See all my reviews

No more corned beef and cabbage for her!

This little romantic comedy clips along from scene to scene with a few exotic twists (some imaginary scenes and a costume party). All of this is centered around the wife of the husband(s) who is looking to break out of the doldrums, played by Gloria Swanson (she is twenty here!). Both the leading men have a natural air that is convincing and of course Swanson is perfect in all kinds of moods, from frivolous to worried to hopeful.

Behind all the games and apparent lightheartedness is that old serious problem of staying in love and not straying in love. There's a little corniness, but director DeMille is on top of keeping it snappy and believable in all. As with many films from this period, the subtitles do not just tell what they are saying (or thinking) but often give a kind of philosophical insight, as if to justify the tragedy (or raciness). And there is that higher purpose here, probably better without the instructional text, but it's part of the narrative style, and it's kind of quaint.

If you are looking for visual or formal amazement, you won't find it here. But as a story, well acted, and filmed with precision and economy, it's really a great example. The events might not come as a total surprise, but it's such a modern love story, set almost a hundred years ago, it's a gas. And did I saw Swanson was perfect?


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