The Clements father and son live by the generosity of rich women. Max, the son, sets his sites on Lady Joan, who is rich, but down-to-earth and charming. At her house he meets Rosine Brown,... See full summary »
The Clements father and son live by the generosity of rich women. Max, the son, sets his sites on Lady Joan, who is rich, but down-to-earth and charming. At her house he meets Rosine Brown, an Austrian widow involved with a rich man. Instantly infatuated with her, Max pursues Rosine until she relents and agrees to marry him. But the elder Clement loses 4500 pounds gambling and Max decides he must marry Joan to prevent his father's imprisonment. Written by
Ron Kerrigan <email@example.com>
It's quite simple: I have nothing, you have plenty. Swell! Okay by me!
Mrs. Rosine Brown:
Oh, I see. You have no objection to marrying a rich woman?
No, none at all! Why should I? Suppose I had everything and you were poor: I wouldn't mind that; I'd adore it.
Mrs. Rosine Brown:
Oh... you mean to say, you'd be quite content to be supported by a woman?
Oh, she wouldn't be supporting me. We'd split.
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Father son gigolo team Flavian (C. Aubrey Smith) and Max Clement (Robert Montgomery) wile their days away coming up with schemes to be wined, dined and supported by upper crust wealthy victims. Max however is swept off his feet by widower Rosine Brown (Nora Gregor) who he begins to relentlessly pursue in competition with other paramours. Finally getting her to capitulate he is suddenly forced to back out and marry someone else in order to save his dear old dad from jail.
There's a charming bounder like quality to both father and son in the presence of the suave Montgomery and the distinguished rascality of C. Aubrey Smith. There is an ease of rapport and affection between the two that makes Max's sacrifice a little less far fetched than it is and C. Aubrey's curmudgeonly Flavian with a twinkle or two left in his eye is impossible to dislike. Both also look like they were born to wear tuxedos and live from soirée to soirée. But there is an undertone of male chauvinism in The Flesh is Weak typified by the adolescent outbursts of Max chiding Rosine that leaves a bad taste. Rosine is treated like a child for being more of an adult than her accuser with the script enabling Max's petulant child and Nora Gregor's lack of confident English devaluing Rosine.
Heather Thatcher as a monocle wearing bohemian of title and money is the film's most interesting character remaining observantly aloof and on the periphery throughout giving bratty dead beat Max all the room he needs to have his self righteous tirades. For the sake of the film he should have been sent to his room.
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