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New Morals for Old (1932)

Passed  -  Drama | Romance  -  4 June 1932 (USA)
5.4
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Ratings: 5.4/10 from 130 users  
Reviews: 6 user | 1 critic

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(from the play by: "After All"), (additional dialogue), 1 more credit »
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Title: New Morals for Old (1932)

New Morals for Old (1932) on IMDb 5.4/10

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Cast

Complete credited cast:
...
Ralph Thomas
Margaret Perry ...
Phyl Thomas
...
Mr. Thomas
Laura Hope Crews ...
Mrs. Thomas (as Laura Hope Crewes)
...
Myra
David Newell ...
Duff Wilson
...
James Hallett
Ruth Selwyn ...
Estelle
Kathryn Crawford ...
Zoe Atkinson
Louise Closser Hale ...
Mrs. Warburton
Mitchell Lewis ...
Bodvin
Elizabeth Patterson ...
Aunty Doe
Lillian Harmer ...
Alice - the Maid
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Storyline

Add Full Plot | Add Synopsis

Plot Keywords:

wallpaper | twins | studio | stroke | party | See All (22) »

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

|

Release Date:

4 June 1932 (USA)  »

Also Known As:

After All  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The play opened in London, England on 2 February 1930 with Madeleine Carroll in the role of Phyl. The play opened on Broadway in New York City, New York, USA on 3 November 1931, but had only 20 performances. Margaret Perry originated her movie role as Phyl in the opening night cast of that production, which also included Humphrey Bogart as Duff Wilson and Walter Kingsford as Mr. Thomas. See more »

Quotes

Mr. Thomas: Oh, I hate a pun. That is the lowest form of wit.
See more »

Connections

Referenced in Hollywood Hist-o-Rama: Myrna Loy (1961) See more »

Soundtracks

La Marseillaise
(1792) (uncredited)
Written by Claude Joseph Rouget de Lisle
Hummed by Robert Young
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User Reviews

 
Telling example of pre-Code morality
15 October 1999 | by (Chicago) – See all my reviews

Though hardly an example of pre-Code films at their raciest, the matter-of-fact treatment of looser sexual mores in this family drama may reveal more about its times than a more exploitative film would. A few years later Lewis Stone, the father here, would play the father of the most straightlaced and retrograde family in movie history (Andy Hardy's); yet here he is shown as accepting the idea that his son would go off to Paris to be an artist (and be shown breakfasting the next morning with his female neighbor, in pajamas) and that his daughter would have an affair with a married man, musing to his wife that they just have to get used to the different morals of different times. No masterpiece, but a sweet and enjoyable film that may remind you of James Ivory's Mr. and Mrs. Bridge.


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