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Strangers May Kiss (1931)

Passed | | Drama, Romance | 4 April 1931 (USA)
Lisbeth is a modern woman who thinks that marriage is old fashioned. She has two men in her life; Steve, who wants to marry her and Alan, who wants her to travel with him. Despite all the ... See full summary »




(from a book by), (dialogue continuity)
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Complete credited cast:
Hale Hamilton ...
Spanish Dancer
Jed Prouty ...
Albert Conti ...
De Bazan
George Davis ...
Rest of cast listed alphabetically:


Lisbeth is a modern woman who thinks that marriage is old fashioned. She has two men in her life; Steve, who wants to marry her and Alan, who wants her to travel with him. Despite all the warnings by her friends and family, Lisbeth goes to Mexico with Alan where she is happy until she finds out that he has a wife in Paris and that he is leaving for his next job without her. Devastated, she spends a few years in Europe being the life of the party. While her reputation is well known, her life of gaiety has not made her happy. Written by Tony Fontana <tony.fontana@spacebbs.com>

Plot Summary | Add Synopsis


Drama | Romance






Release Date:

4 April 1931 (USA)  »

Also Known As:

Beijos a Esmo  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.20 : 1
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Did You Know?


Norma Shearer, who always had a lot of power at M-G-M as a result of both her audience draw and marriage to acclaimed M-G-M Producer Irving Thalberg, she personally selected this story to star in, after having read over 200 different scripts and books. She also officially requested that Robert Montgomery play the lead actor role. See more »


During the opening of the movie, when Lisbeth (Norma Shearer) and Alan (Neil Hamilton) get off the plane they were flying in, there is no pilot visible when the plane door opens. See more »


Steve: You look awful good to me.
Lisbeth Corbin: Ha-ha. It's simply gorgeous, Stevie, you bobbing up like this. Really, thrilling.
Steve: Oh, you're lying. But, I like it. I never gave you a thrill in your life.
Lisbeth Corbin: I'm not lying. I try to find one kick for every 24 hours. You saved the day!
Steve: Well, that's something.
Lisbeth Corbin: [Toast] Happy days!
Steve: Here's mud in your eye.
See more »


Silent Night, Holy Night
(1818) (uncredited)
Music by Franz Gruber
Played on the piano by Norma Shearer
See more »

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User Reviews

Montgomery Is Tops; Shearer Prefers Abuse
1 February 2007 | by (United States) – See all my reviews

I find much to agree with in all of the comments made about this film. The hypocritical morals are obvious. The disparity between Norma Shearer's acting style, nurtured in silent films, and Robert Montgomery's style, which does anticipate a more modern approach, is also apparent. The costumes and sets are marvelous and capture the milieu with authenticity and panache. But not being a great fan of Miss Shearer, I did, indeed, grow weary of seeing her throw her head back in laughter. I wholeheartedly agree that Robert Montgomery steals the show.

The content of this film makes it racy in any era. The montage of scenes depicting Shearer with man after man makes the point clearly enough without being as explicit as a contemporary film. In fact that method of story telling is one of the key distinctions between films from the Golden Age of Hollywood and contemporary cinema. This method either appeals to an individual's tastes today or doesn't (and it is that bias which often forms the basis of comments found in forums such as this). For the record, I appreciate a less explicit approach to cinema.

The only point I would like to make more explicit is that I found it impossible to see what: 1) Miss Shearer's character saw in her caddish married lover or 2) what Mr. Montgomery's character saw in Miss Shearer's character. The only person who seemed the slightest bit attractive was Montgomery's character (despite his penchant for the bottle), who nobody found desirable.

Filmed today, this movie would probably explore the rejected woman's past, searching for psychological explanations for her preference of an abusive mate over a warm, caring one. This film, therefore, might have been an interesting psychological study and made a little more sense. But filmed in 1930, cinema had a long way to go before really delving into such explorations. Even Bette Davis' landmark portrayal of Mildred in 1934's "Of Human Bondage" is not so much an exploration as a portrait.

10 of 14 people found this review helpful.  Was this review helpful to you?

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