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Mary Miles Minter plays a beautiful, aristocratic Irish nurse, whose
relatives disapprove of her career choice. When not taking care of
at the local hospital she is romping around on her parents' estate on her
horse, and lecturing her maid on the pitfalls of falling in love with the
Young Nurse Marjorie is chosen to be the recovery nurse for a popular Labor Leader in the British Parliament, played by Clyde Fillmore. Clyde's character John has an eye operation to correct a squint. Before being anesthetized he sees a hideous nurse who looks like a transvestite staring down at him. He asks his doctor: "Is that my nurse?" and when the answer is affirmative John shudders and turns away.
After the operation John's eyes are bandaged for several days, and he can't see that the hospital has switched nurses on him: the transvestite nurse has been replaced with beautiful Nurse Marjorie. She quickly realizes his misunderstanding, and with her Irish sense of humor intact, teases John and intentionally does not reveal her identity. When the bandages are removed John sees this lovely vision in the mirror and decides immediately that his recuperation time should be prolonged, so he fakes more illness to be able to stay in the hospital to be near Marjorie.
All ends happily, despite an attack on John's life by a mad gunman, and the film proceeds with comic and romantic touches which are very entertaining. The class system in the UK is also depicted in this film, but the moral of the story is that true love can transcend pre-conceived notions about someone's rank and status in society. "I've been cured of my moral squint," says the happy politician at the conclusion of the film. (Lots of politicians around today with the same squint!)
Director William Desmond Taylor portrayed Mary Miles Minter in this film as a pure vision of loveliness. It was obvious he must have had strong feelings for her at the time.
Although essentially a light romantic comedy, this William Desmond
Taylor feature starring Mary Miles Minter is also a commentary on the
class system in the UK, and the discrimination that results from such a
Mary plays her role as the aristocratic daughter of a Duke (Marjorie) with charm and a comedic flair. Against her parents wishes, she decides to be a recovery nurse in a nursing home where wealthy clients recuperate. It's perfectly commendable for the daughters of aristocracy to nurse the poor, but not "stockbrokers" as the Duchess of Donegal notes.
One of Mary's patients is a Labor Leader in Parliament whose had eye surgery to correct a squint, and he thinks that Marjorie is the homely nurse that he last saw before going under the gas. Before the bandages are removed, he can't bear to have Marjorie touch him. Marjorie decides to teach him a lesson about discriminating about looks and class, and in the majority of the movie uses subterfuge to test John's feelings for her and see if he's the kind of man she can grow to love.
There are many charming aspects to this movie, not the least of which is the clever dialog and the way Taylor lovingly photographs Mary. There's not the slightest doubt that he liked her and their collaboration was an enjoyable one for both of them. This is the only movie that they made together that still survives and more than exemplifies what was a happy working relationship before tragedy overcame them both in real life.
Is love blind? Well occasionally, but in this case, it just may have a "moral squint" as well! See this charming movie if you can.
A great film - You'll see why so many people fell in love with her and why so many still love her today. The film is in good shape for its age. William Desmond Taylor obviously loved her.... Makes you want to meet and talk with anyone who ever had the pleasure of knowing Mary.
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