This delightful and oh-so-sophisticated combination comedy/drama was my personal favorite at Cinefest. With clever dialogue, fetching lead actors and delicious directing, I was hooked at the onset. Beautiful Ann Harding is seen cooking and explaining to her engaged sister (Lucile Brown) that to men, business is business but that marriage is the business of women. Harding sets her sights on William Powell, a super smooth playboy who inherited a struggling shipping line. She sets a trap arranging for her sister to send their father (stern Henry Stephenson) to Powell's apartment for the purpose of catching Harding and Powell alone. To save face, Powell agrees to marry Harding, at least for a while. On the honeymoon, Powell suggests a divorce, while Harding coolly recommends they wait six months so as not to seem too obvious. She then starts steering him to leading his company back to profitability by looking at it as a challenge. With his talents now attending to business and not bedroom conquests, Powell starts to enjoy his newfound success and begins to fall in love with his bride. In the meantime Harding's jealous sister, now unhappily married, has been living beyond her means and needs money fast. She blurts out the truth of the marriage trap when Harding refuses to again pay off her debts. Powell leaves, disillusioned. Harding's father has arranged for a huge business deal to be offered to Powell at a formal dinner party at their home that very night. As Powell is boarding a ship to Europe, his frazzled wife is at home greeting guests and trying to maintain composure. One by one, each guest is involved in a personal crisis and is pulled away from the dinner party from hell, presided over by blustery Reginald Owen as the butler. I can't go on with out spoiling the best joke. This forgotten film is four stars all the way. I saw this film in March of 2004 at the CINEFEST film festival in Syracuse, NY. Thank god for film festivals like this one that make rare films like this available and the folks who provide comments to IMDB for others to share. Please support the IMDB and early film festivals!
46 Reviews
Quite witty & charming.
filmfun13 June 1999
Really well done adaptation of the play to the screen. Rather wordy as was most early 1930's films, but quite charming nevertheless. And, indeed, rather risque for its day since there is a supposition at one point that Ann Harding's character, Joan, in trying to trap William Powell into marriage, is giving pre-marital favors and is actually caught in the process. The chemistry between Harding and Powell is quite good and it is unfortunate that the two were never paired again in another film.
Double Harness (1933) - Harding Delivers ...
klasekfilmfan4 April 2007
I just caught this sixty-nine minute comedy/romance from RKO (released to American theaters in 1933) on TCM as part of their lost-and-found spot tonight. Very fun picture directed by John Cromwell and starring Ann Harding, William Powell, and Lucille Browne. I am not very familiar with Ms. Harding's career, but I must say that I was very much impressed with her performance here. Actresses today should watch her in this film and take lessons. Her facial expressions had so much depth and realism, something that we, with few exceptions, do not see in modern actors. Powell holds his own as a playboy wanting to do little with his life besides play Polo and women. This was a nice warm-up spot for Powell until he would make his most legendary 'The Thin Man' ('34) the following year. DOUBLE HARNESS has a heck of a lot to offer in its 69 minute runtime. Let's hope we see this one appear on DVD soon.
A Hidden Treasure from 1933
Kalaman7 August 2003
"Double Harness" is a wonderful but obscure little RKO treasure from 1933, directed by John Cromwell, a capable craftsman who throughout his career specialized in prestige studio pictures. This is the earliest Cromwell picture I have seen, an adaptation of a rather loquacious play by Edward Poor Montgomery. I wanted to see it because I love Ann Harding and she is always a beautiful sight in almost everything she is in. I was pleased how radiant and divine Ms. Harding turned out to be in "Double Harness" - definitely one of her top five best films.
It's a small picture, with short (67 min) duration. Yes it's gabby, but intelligent & rapturous all the same, and I urge to seek out if you get the chance. William Powell - restrained, suave, and charismatic - is also wonderful as her romantic interest. Their precise charm and camaraderie and some of the ways she snares him into marriage are quite witty and delightful.
It's a small picture, with short (67 min) duration. Yes it's gabby, but intelligent & rapturous all the same, and I urge to seek out if you get the chance. William Powell - restrained, suave, and charismatic - is also wonderful as her romantic interest. Their precise charm and camaraderie and some of the ways she snares him into marriage are quite witty and delightful.
Not perfect, but a very interesting drama
planktonrules5 April 2007
This is one of the "lost but found" films shown on TCM on 4/4/07. Apparently this and two other films shown that night were held out of public release due to litigation concerning royalties and now the powers that be at Turner Classic Movies have taken care of the licensing issues. Of the three films shown that night, none of them were great treasures but all three were excellent--very solid examples of the type of films RKO made during the era. Normally, when you think of RKO in 1933, you think KING KONG or Astaire and Rogers as a team, but there were other good films that might rank just below them in quality and entertainment.
One of the big reasons I saw this film (aside from the fact that I am a major old movie junkie) is that it featured William Powell--one of my favorite old movie stars. While this WAS one of his movies, he was not exactly the same type of funny and sophisticated guy he later played in the Thin Man films or in LIBELED LADY. Instead, he was a rich playboy who was a little less likable, though he was honest enough to tell his girlfriend (plaed by Ann Harding) that he wanted to be a playboy and didn't want deep commitment. Ms. Harding, though a nice person, was determined to marry him so she concocts a plan to trick him into feeling he must marry her. She is successful, though afterwards her victory seems very hollow. How all this is deftly resolved is pretty clever and interesting and makes this film well worth seeing.
The acting and writing are excellent despite this being a less than big budget sort of production. It's a good example of a "Pre-Code" film as topics such as adultery and premarital sex are actually discussed--something that would probably NOT been allowed after the new and strict Production Code was enacted in 1934-35. While the topics were NOT dealt with in a salacious manner, the adult aspects of this film make it pretty timeless and topical today.
One of the big reasons I saw this film (aside from the fact that I am a major old movie junkie) is that it featured William Powell--one of my favorite old movie stars. While this WAS one of his movies, he was not exactly the same type of funny and sophisticated guy he later played in the Thin Man films or in LIBELED LADY. Instead, he was a rich playboy who was a little less likable, though he was honest enough to tell his girlfriend (plaed by Ann Harding) that he wanted to be a playboy and didn't want deep commitment. Ms. Harding, though a nice person, was determined to marry him so she concocts a plan to trick him into feeling he must marry her. She is successful, though afterwards her victory seems very hollow. How all this is deftly resolved is pretty clever and interesting and makes this film well worth seeing.
The acting and writing are excellent despite this being a less than big budget sort of production. It's a good example of a "Pre-Code" film as topics such as adultery and premarital sex are actually discussed--something that would probably NOT been allowed after the new and strict Production Code was enacted in 1934-35. While the topics were NOT dealt with in a salacious manner, the adult aspects of this film make it pretty timeless and topical today.
Trying To Marry With Your Head
boblipton18 April 2020
Ann Harding thinks that a woman's business is making a marriage, and she sets her sight on playboy William Powell, whose inherited shipping business is in the hands of managers who have no understanding of modern conditions. She believes that emotions have no place in business like shipping or marriage, and she can push Powell into using his native brains to running the business well. So she does, and he does, and she discovers to her horror that she loves him, while he was being gentlemanly about the whole matter.
It's a witty little effort from a stage play by Edward Poor Montgomery, with two leads who are made for their roles, with a fine cast under the direction of John Cromwell. Lucille Browne has a fine role as Miss Harding's whiny, spendthrift sister. Definitely worth a look!
It's a witty little effort from a stage play by Edward Poor Montgomery, with two leads who are made for their roles, with a fine cast under the direction of John Cromwell. Lucille Browne has a fine role as Miss Harding's whiny, spendthrift sister. Definitely worth a look!
Before Thin Man He Makes A Rotten Husband
DKosty12324 April 2020
Warning: Spoilers
He was such a great actor, it is hard to imagine that William Powell is already over 40 when this RKO B Picture was made. It is a film that was thought lost and then was found because it was in tv package. Then even a few cut scenes were located. It is a mild pre-code entry.
For pre-code this one seems to have a morals clause. Ann Harding is one of many women Powell co-starred with in films and the more of Powells films I find, the more I realize here is a man born to be a great actor. Powell and Harding are caught by dad, and she drags him into a marriage from the trap.
It is satire but really when looked at carefully it fits the time it was filmed in. Filmed on a shoe string modern tv reveals that the San Francisco driving scenes are not done live but with a background set in on screen. No matter the quality of Powell and Harding bring this movie over. Once you've seen the Thin Man and visit this, you realize Powell was already in character form in this one. It is a sheer pleasure to watch him even though the latter parts of the film suffer a bit from scripting and the obvious shoe string budget the film was shot with.
In Powell tradition, the rotten husband makes good. Maybe even too good considering what harnesses are put on him.
For pre-code this one seems to have a morals clause. Ann Harding is one of many women Powell co-starred with in films and the more of Powells films I find, the more I realize here is a man born to be a great actor. Powell and Harding are caught by dad, and she drags him into a marriage from the trap.
It is satire but really when looked at carefully it fits the time it was filmed in. Filmed on a shoe string modern tv reveals that the San Francisco driving scenes are not done live but with a background set in on screen. No matter the quality of Powell and Harding bring this movie over. Once you've seen the Thin Man and visit this, you realize Powell was already in character form in this one. It is a sheer pleasure to watch him even though the latter parts of the film suffer a bit from scripting and the obvious shoe string budget the film was shot with.
In Powell tradition, the rotten husband makes good. Maybe even too good considering what harnesses are put on him.
Her Marriage Theory
movingpicturegal5 April 2007
Melodramatic romance about Joan (played by Ann Harding), a woman who strongly believes that marriage is "a business" and decides that a playboy of her acquaintance, John Fletcher (William Powell), a man with a "future" (not to mention a well-trained manservant) is the one for her. She actually falls in love with him, in spite of herself, but he's all playboy and doesn't seem to want to give up the bachelor life. She decides to trick him into marriage by going to his apartment, then changing into "something cooler", after which her father shows up, and for some reason Fletcher agrees to marriage. Well, they're already discussing divorce on the honeymoon and decide to wait six months before they get it. Joan is meanwhile busy pressing her husband to work on making his business a success and give up the polo (even though he's not very ambitious and has stated he prefers the life of leisure).
Well, this is an interesting, fairly serious film that stands out based on very well done performances by Ann Harding and William Powell. The flaw for me in the film is that I find the male character to be kind of a jerk and can't really see why she's so gung-ho to want this man - personally, I would take a decent, nice guy any day over a wealthy playboy who's always chasing after other women. In general, I would say this woman has been making some pretty poor choices in her life. But one bonus - the film is loaded with gorgeous dresses on all the women, a nice look at some fashions of the day. A decent film, worth seeing.
Well, this is an interesting, fairly serious film that stands out based on very well done performances by Ann Harding and William Powell. The flaw for me in the film is that I find the male character to be kind of a jerk and can't really see why she's so gung-ho to want this man - personally, I would take a decent, nice guy any day over a wealthy playboy who's always chasing after other women. In general, I would say this woman has been making some pretty poor choices in her life. But one bonus - the film is loaded with gorgeous dresses on all the women, a nice look at some fashions of the day. A decent film, worth seeing.
Stars' Charisma & Director's Talents Lead the Way!!
antonio-2127 June 2001
Ann Harding and William Powell are terrific in this strange little gem of a movie which runs the gamut from Pre-Code Drama to Screwball Comedy! (the closing dinner party scene is worth the price of admission). John Cromwell directs with a sure hand, especially in a great tracking shot involving the two sisters.
It's incredible how modern films seem to lack any sense of sophistication and style in comparison with even lesser known films from the 30's like this one.
A pure joy to watch.
It's incredible how modern films seem to lack any sense of sophistication and style in comparison with even lesser known films from the 30's like this one.
A pure joy to watch.
Disappointed me as a Powell Fan
Eric26628 March 2018
I've grown to enjoy Powell's sense of humor. I adored he and Myrna Loy in the Thin Man movies and he is almost always on the mark with his comedic timing. Something about this movie just seemed off to me. It didn't feel like one scene flowed properly into the next and the plot twists seemed a bit contrived.
Powell is John Fletcher, a rich playboy with a shipping business he ignores. Ann Harding is Joan Colby, a sensible woman who believes she can trick John into marriage. It works and the two enter into a business arrangement that both agree should last 6 months until they can get divorced. In the meantime, Ann falls in love with John and determines to make him fall in love with her. This is where the movie really falls apart for me. Their romance is stoic and not very romantic. It doesn't develop slowly. The two actors have very little chemistry. There are just some plot points and we are supposed to expect that John loves her. With a very short run time (103 minutes), it appears they tried to rush a romance instead of letting it develop properly. Their reconciliation felt tacked on.
The supporting cast is up to the task. Lucile Brown is Joan's reckless younger sister, Valerie. Henry Stephenson is their stern and demanding father. Reginal Owen steals the show as John's overly efficient butler, Freeman. There's a mistress, Valerie's husband, and an chef who seems to have aspirations for the MMA.
This movie was adapted from a play which explains its short run time and limited filming locations. With a better script and some fleshing out of the characters, this could have been a really fun movie.
Powell is John Fletcher, a rich playboy with a shipping business he ignores. Ann Harding is Joan Colby, a sensible woman who believes she can trick John into marriage. It works and the two enter into a business arrangement that both agree should last 6 months until they can get divorced. In the meantime, Ann falls in love with John and determines to make him fall in love with her. This is where the movie really falls apart for me. Their romance is stoic and not very romantic. It doesn't develop slowly. The two actors have very little chemistry. There are just some plot points and we are supposed to expect that John loves her. With a very short run time (103 minutes), it appears they tried to rush a romance instead of letting it develop properly. Their reconciliation felt tacked on.
The supporting cast is up to the task. Lucile Brown is Joan's reckless younger sister, Valerie. Henry Stephenson is their stern and demanding father. Reginal Owen steals the show as John's overly efficient butler, Freeman. There's a mistress, Valerie's husband, and an chef who seems to have aspirations for the MMA.
This movie was adapted from a play which explains its short run time and limited filming locations. With a better script and some fleshing out of the characters, this could have been a really fun movie.
A little too refined and subtle for me
1930s_Time_Machine9 July 2023
Were Jane Austen to have lived for 200 years and had an off-day, she might have written this. It's a subtle social commentary on a society which would not have been that that dissimilar to that she was born into.
For me personally, a subtle drama about the 'first world issues' of privileged individuals doesn't resonate too much. I found this a little cold and dissociated - from an early 30s movie I have to confess I like more emotion. This is more of an inoffensive drawing room drama. An awful lot of 30s pictures about the wealthy use the lazy trope where the rich are depicted as one-dimensional monsters, fortunately this is not one of those. Like in films such as DINNER AT EIGHT, this just pokes gentle fun at their idiosyncrasies even though in this, the fun is in short supply. As to why this is categorised as a comedy is beyond me - the script has some wit but this is definitely not a comedy.
I now feel I must apologise to any decedents or family of Ann Harding. She was clearly a fine actress but I just can't take to her. For no logical reason I can work out, I cannot stand Ann Harding. To me she looks and acts like William Powell's ugly old spinster aunt rather than his love interest. To me, they seem an impossibly unlikely couple and she makes this whole story unbelievable - sorry, that's just me.
On the plus side.... although it's also a negative... this picture has a very modern outlook in terms of sexual equality. Such a modern perspective makes this more normal but to us fans of old movies who enjoy being baffled by the weird attitudes of the age, this makes it feel a little less special. Although the old sexism isn't there, there's one particularly archaic attitude which is very much intrinsic to the whole story. It depicts at the top of the bill some good old fashioned Old Testament morality which was prevalent for the upper echelons of society back then. Our protagonists are forced into marriage simply because they've spent the night together. Even though that liaison was secret so there could be no public scandal, a marriage had to follow since it was the right and honourable thing to do. As a time capsule, this is quite interesting but the overall story isn't.
This is well made, well written and well acted so if you like a subtle drama about relationships you might enjoy this. If like me, you prefer something meatier stick with James Cagney or Alice White!
For me personally, a subtle drama about the 'first world issues' of privileged individuals doesn't resonate too much. I found this a little cold and dissociated - from an early 30s movie I have to confess I like more emotion. This is more of an inoffensive drawing room drama. An awful lot of 30s pictures about the wealthy use the lazy trope where the rich are depicted as one-dimensional monsters, fortunately this is not one of those. Like in films such as DINNER AT EIGHT, this just pokes gentle fun at their idiosyncrasies even though in this, the fun is in short supply. As to why this is categorised as a comedy is beyond me - the script has some wit but this is definitely not a comedy.
I now feel I must apologise to any decedents or family of Ann Harding. She was clearly a fine actress but I just can't take to her. For no logical reason I can work out, I cannot stand Ann Harding. To me she looks and acts like William Powell's ugly old spinster aunt rather than his love interest. To me, they seem an impossibly unlikely couple and she makes this whole story unbelievable - sorry, that's just me.
On the plus side.... although it's also a negative... this picture has a very modern outlook in terms of sexual equality. Such a modern perspective makes this more normal but to us fans of old movies who enjoy being baffled by the weird attitudes of the age, this makes it feel a little less special. Although the old sexism isn't there, there's one particularly archaic attitude which is very much intrinsic to the whole story. It depicts at the top of the bill some good old fashioned Old Testament morality which was prevalent for the upper echelons of society back then. Our protagonists are forced into marriage simply because they've spent the night together. Even though that liaison was secret so there could be no public scandal, a marriage had to follow since it was the right and honourable thing to do. As a time capsule, this is quite interesting but the overall story isn't.
This is well made, well written and well acted so if you like a subtle drama about relationships you might enjoy this. If like me, you prefer something meatier stick with James Cagney or Alice White!
A Gem Of Social Satire From The Depths Of The Depression
Patriotlad@aol.com30 April 2007
Once again, the big thinkers at Turner Classic Movies have provided film buffs with a tremendous cinematic coup, this being the re-release of six films crafted by Merian C. Cooper as executive producer, and tied up in litigation over the screening rights for decades. Among these films is the social satirical gem, "Double Harness," which is available from TCM via those cable TV providers who have TCM On Demand.
The film is, therefore, free for viewing at the convenience of the customer and this one comes highly recommended.
In all honesty, it was not until the very final scenes of this film, that I realized it was set in San Francisco ( and not New York ), and that the entire production was a satire. The beginning and middle sections of this movie -- from a play by Edward Poor Montgomery -- seem to fit nicely in the oh-so-predictable slot of "melodrama." Just about every player in this film is a character carved strictly out of "upper crust" marble, with all the trappings of the idle rich in the '30s.
Not that the idle rich in the Depression years had it so good, of course, as they apparently had to cut back on the caviar before dinner at least once in a while. The alert film buff will realize that this story is strictly from "la la land" in the first scenes, where the two sisters Colby are viewing bridal dresses for the younger one, Valerie, who is about to be married. The bill for her trousseau comes to well over $ 3000 at a time when $ 100 per week was a lot of money for a family of four. And by the way, everybody smokes ... a lot.
Everyone in this movie is fabulously wealthy by the standards of the day, even though their interests are under pressure from the economic turbulence of 1931-1932. Losses from a bank failure are mentioned in passing in one scene, but the audience cannot help but be captivated by the opulence of the lives of these characters. This film also serves to further establish the absolute brilliance of William Powell, who is the lazy playboy named John Fletcher, heir to a shipping line.
Powell seems to play his character with an almost sublime restraint, and a barely concealed exuberance: it is as if he knew in his subconscious mind that this was an "Ann Harding" picture and it was his duty to bolster her performance and her presence. He does so, in the most magnificent fashion, and it adds power to the social satire which is the weave of this cinematic fabric. It all comes together at the end, where a most elaborate private dinner party collapses into a drunken disaster for the younger sister, and a fist-fight for the butler and the cook !! And there's a happy ending, too, of course.
The only thing this film lacked was more ... more of the luminous Ann Harding, more of how she was slowly capturing the real man inside the phony, shallow playboy Fletcher, and more of how William Powell brought that character into reality from a stiff and rather formal screenplay, the kind of "very talkative" cinematic fiction so common in that era.
Nine of ten, and since it can be viewed for free, On Demand, it is highly recommended to any and all film buffs.
The film is, therefore, free for viewing at the convenience of the customer and this one comes highly recommended.
In all honesty, it was not until the very final scenes of this film, that I realized it was set in San Francisco ( and not New York ), and that the entire production was a satire. The beginning and middle sections of this movie -- from a play by Edward Poor Montgomery -- seem to fit nicely in the oh-so-predictable slot of "melodrama." Just about every player in this film is a character carved strictly out of "upper crust" marble, with all the trappings of the idle rich in the '30s.
Not that the idle rich in the Depression years had it so good, of course, as they apparently had to cut back on the caviar before dinner at least once in a while. The alert film buff will realize that this story is strictly from "la la land" in the first scenes, where the two sisters Colby are viewing bridal dresses for the younger one, Valerie, who is about to be married. The bill for her trousseau comes to well over $ 3000 at a time when $ 100 per week was a lot of money for a family of four. And by the way, everybody smokes ... a lot.
Everyone in this movie is fabulously wealthy by the standards of the day, even though their interests are under pressure from the economic turbulence of 1931-1932. Losses from a bank failure are mentioned in passing in one scene, but the audience cannot help but be captivated by the opulence of the lives of these characters. This film also serves to further establish the absolute brilliance of William Powell, who is the lazy playboy named John Fletcher, heir to a shipping line.
Powell seems to play his character with an almost sublime restraint, and a barely concealed exuberance: it is as if he knew in his subconscious mind that this was an "Ann Harding" picture and it was his duty to bolster her performance and her presence. He does so, in the most magnificent fashion, and it adds power to the social satire which is the weave of this cinematic fabric. It all comes together at the end, where a most elaborate private dinner party collapses into a drunken disaster for the younger sister, and a fist-fight for the butler and the cook !! And there's a happy ending, too, of course.
The only thing this film lacked was more ... more of the luminous Ann Harding, more of how she was slowly capturing the real man inside the phony, shallow playboy Fletcher, and more of how William Powell brought that character into reality from a stiff and rather formal screenplay, the kind of "very talkative" cinematic fiction so common in that era.
Nine of ten, and since it can be viewed for free, On Demand, it is highly recommended to any and all film buffs.
Tricked into marriage
russjones-8088725 August 2020
After her younger sister becomes engaged, a woman decides to do the same. She chooses a rich playboy and tricks him into marrying her, after they are found in a compromising situation, but then wants him to genuinely fall in love with her.
Pre-code romantic drama with Ann Harding and William Powell starring as the couple in question. Questionable as to why these two characters would get together but, as the plot gradually unwinds, that is forgotten.
Pre-code romantic drama with Ann Harding and William Powell starring as the couple in question. Questionable as to why these two characters would get together but, as the plot gradually unwinds, that is forgotten.
Love among the idle rich...Ann Harding and William Powell...
Doylenf4 April 2007
Ladylike ANN HARDING and debonair WILLIAM POWELL are well matched in a romantic drama about a woman who traps a man into matrimony and then has to figure out how to stop him from being a philandering husband.
The thing I've always noticed about ANN HARDING is that even when she was playing ingenues and young romantic leads she always looked matronly--beautiful but matronly and highly intelligent. And this film is no exception. However, she gives a more relaxed performance than usual as the scheming woman.
Basically, however, it's a dull and talky romance about a woman who has all the wifely virtues vs. a man who is not really the marrying kind. Harding, it seems, has every right to be apprehensive about marrying him, especially after playing a prank in order to lasso him.
It's a drawing room drama among high society where everyone lights endless cigarettes and spouts lots of sophisticated dialog with casual elegance--but despite the polished performances, it's hardly what one could call a riveting comedy or drama. HENRY STEPHENSON has a solid supporting role as Harding's father and REGINALD OWEN strikes the right note of independence as a free thinking butler.
Powell and Harding are simply filling the time, nothing more. In other words, this one is a trifle directed in rather lackluster style by John Cromwell.
The thing I've always noticed about ANN HARDING is that even when she was playing ingenues and young romantic leads she always looked matronly--beautiful but matronly and highly intelligent. And this film is no exception. However, she gives a more relaxed performance than usual as the scheming woman.
Basically, however, it's a dull and talky romance about a woman who has all the wifely virtues vs. a man who is not really the marrying kind. Harding, it seems, has every right to be apprehensive about marrying him, especially after playing a prank in order to lasso him.
It's a drawing room drama among high society where everyone lights endless cigarettes and spouts lots of sophisticated dialog with casual elegance--but despite the polished performances, it's hardly what one could call a riveting comedy or drama. HENRY STEPHENSON has a solid supporting role as Harding's father and REGINALD OWEN strikes the right note of independence as a free thinking butler.
Powell and Harding are simply filling the time, nothing more. In other words, this one is a trifle directed in rather lackluster style by John Cromwell.
The story was okay...
mkilmer8 April 2007
"He always has a drink," said my wife. She was speaking, of course, of William Powell's various characters, and I observed that he was always wealthy. Was he typecast? That is a question for seventy-years-ago; today, we just enjoy his work.
And it starred William Powell. (Isn't that enough?) In DOUBLE HARNESS, Powell plays John Fletcher, a playboy millionaire who is targeted for marriage by Joan Colby (Ann Harding). She gets her man, and this turns out to be to his immediate benefit. She gets him interested in running the company he inherited, and with her help, he's quite successful at it. He's a savvy guy, but she's clearly the woman behind the successful man. (Yes, such a thing still exists, some seventy years after.) Joan's sister Valerie (Lucille Browne) is something of a ditz with spending proclivities beyond her means. This leads to a disaster of a sort, but it's nothing Joan cannot handle.
The ending, which I shan't divulge, left me with a few questions, but the answers were not necessary and I was pleased with the film. William Powell fans, you don't want to miss the master at work.
And it starred William Powell. (Isn't that enough?) In DOUBLE HARNESS, Powell plays John Fletcher, a playboy millionaire who is targeted for marriage by Joan Colby (Ann Harding). She gets her man, and this turns out to be to his immediate benefit. She gets him interested in running the company he inherited, and with her help, he's quite successful at it. He's a savvy guy, but she's clearly the woman behind the successful man. (Yes, such a thing still exists, some seventy years after.) Joan's sister Valerie (Lucille Browne) is something of a ditz with spending proclivities beyond her means. This leads to a disaster of a sort, but it's nothing Joan cannot handle.
The ending, which I shan't divulge, left me with a few questions, but the answers were not necessary and I was pleased with the film. William Powell fans, you don't want to miss the master at work.
Precode drama
blanche-223 June 2008
1933's "Double Harness" is a precoder based on a play of the same name. Before playwrights like Clifford Odets championed the working man, plays dealt with the upper class, as does "Double Harness." William Powell is John Fletcher, a committed playboy, and Ann Harding is Joan Colby, who believes marriage is a business. She isn't in love with John, but she believes she can be of use to him in his family enterprise, which he neglects. They become lovers; she arranges for her father (Henry Stephenson) to find her in John's apartment. He strongly suggests to John that he do the right thing, and John leaves it up to Joan - does she want to marry him? He's surprised when she says yes. On their honeymoon, they agree to stay married for six months and then divorce. Then a funny thing happens: love.
Ann Harding came from the Broadway stage; she was a sophisticated, mature, dramatic looking actress with a rich speaking voice. Actually by 1933, her career had begun its decline (though she worked on and off until 1965). Like Kay Francis, she is an elegant, independent heroine, a type which had faded out by the 1940s. Here, her Joan is strong, droll and earthy. Powell was an actor whose appearance didn't change from role to role, but he was able to internalize a character so that he always seemed different. He became associated later on with Nick Charles and some wonderful comedies, but in this era, he's quite serious and as always, wonderful.
Dated due to the different mores of today but no less entertaining.
Ann Harding came from the Broadway stage; she was a sophisticated, mature, dramatic looking actress with a rich speaking voice. Actually by 1933, her career had begun its decline (though she worked on and off until 1965). Like Kay Francis, she is an elegant, independent heroine, a type which had faded out by the 1940s. Here, her Joan is strong, droll and earthy. Powell was an actor whose appearance didn't change from role to role, but he was able to internalize a character so that he always seemed different. He became associated later on with Nick Charles and some wonderful comedies, but in this era, he's quite serious and as always, wonderful.
Dated due to the different mores of today but no less entertaining.
A Social Drama Curiosity of the 1930s
theowinthrop6 April 2007
Warning: Spoilers
This was the second of the series of re-released, long missing films shown on Wednesday, April 2, 2007 on Turner Classic films.
RAFTER ROMANCE had a good deal of pleasant humor still going for it, and A MAN'S JOURNEY has some wonderful performances and a good story. But DOUBLE HARNESS, although it has two good performances (especially Ann Harding's) from it's leads has a script that most people would not accept. Family and filial devotion are still big matters to people today, but this film stretches these points way out of proportion.
Harding is the older of the two daughters of Henry Stephenson. The younger one is Lucille Brown. As the film begins we see Harding with Stephenson and Brown buying Brown's wedding trousseau. Stephenson is a decent sort (when was he not in most of his films?) but he has never been really astute about money matters, and so he is only able to afford $5,000.00 (1933 dollars, of course) for the weddings of both daughters together. But dear little Brown is spending more than her $2,500.00 share. Harding realizes this, and is a good sport - she let's this shopping spree eat up more than 2/3 of the total. After all, little sister is getting married.
Harding is asked by Stephenson and by Brown about her own marriage plans. She has been dating William Powell, a well-known playboy type, but one who actually has a business - a potentially important shipping line that Powell has allowed to be run by others, and is now somewhat shabby. It turns out that Harding actually has her own agenda. She sees that marriage by itself (supposedly based on love) is insufficient, unless the wife can be of use to bring out the best in the husband not only at home but in his career (this film is very much a 1930s film - the idea of the woman building her career is not part of the picture).
Powell is enjoying dating Harding, and it goes beyond a casual, more typical affair of a few days or weeks. But she sets him up (with the aid of her sister and Stephenson). Powell has brought her to his apartment on several occasions (and we imagine it is for more than the cocktails served to them by his butler, Reginald Owen), but one night Stephenson shows up as the angry, red-faced father (signalled to come by Brown after Harding calls Brown up). Stephenson acts as though he is furious, and wants to know the intentions of both Powell and Harding: how do they feel about each other, and will they marry or not? Harding admits she loves Powell, and would marry him, but it is up to him to decide. Flummoxed by the suddenness of the situation, Powell says he wants to marry too. So now the marriage can go through.
Now the title of the film is understandable, as the marriage is the "double harness" of the couple. But the problems are these. No matter how fond he is of Harding, and willing to go through the forms, Powell intends it to be a short duration marriage. Harding is discovering that she is slowly falling in love with Powell, and is also aware that he expects her to divorce him within a six months of their return from their honeymoon (on one of his cruise lines ships).
She gets to work to remake him racing against time - if she can domesticate him (and make him see he likes it) she can save the marriage. She also starts pushing him to get re-involved with the shipping line, and he starts taking charge of it (and it starts improving). Only two things may derail Harding's plans. One is the reappearance of one of the wealthy women (Lillian Bond) who thrived with Powell (or seemed to do so) when he was a playboy. She starts being seen around town with Powell, although he is simply being polite in taking her to lunch at such.
The other thing is Lucille Brown. Her marriage to George Meeker is in jeopardy (again we see no scenes about this) because she can't curb her spendthrift ways. Apparently they had a heavy duty argument at one point, when he agreed to pay off a big clothing bill, a few months after the marriage - he telling her that she better change as he was not rich enough to stand this kind of extravagance. Brown manages to sponge off Harding (using up all of Harding's private money) but still coming back for more. It seems there is a $1,000.00 debt that is owed, and Brown can't face Meeker about it. Harding pawns a ring for $500.00 (Brown is upset that the pawnbroker did not pay her the full value of the ring - as though a pawnbroker would!). But Brown is spoiled and rotten enough to consider either borrowing the money from Powell (without telling Harding) or going to a male admirer (Hugh Huntley) and "making an arrangement" with him for the money.
Harding's and Stephenson's affection for Brown as a member of their family is understandable, but both know she's a selfish, spoiled brat. She does considerable damage in the film - and it is a weakness (I'd call it a serious weakness) that she never really suffers the consequences about it while others do suffer. Somehow that would not pass these days. Otherwise the performances of the two leads (especially the under-appreciated Harding) makes the film quite watchable. Also good is Owen, as the perfect butler/valet, who has a funny sequence at one of the most disastrous dinner parties in movie history.
RAFTER ROMANCE had a good deal of pleasant humor still going for it, and A MAN'S JOURNEY has some wonderful performances and a good story. But DOUBLE HARNESS, although it has two good performances (especially Ann Harding's) from it's leads has a script that most people would not accept. Family and filial devotion are still big matters to people today, but this film stretches these points way out of proportion.
Harding is the older of the two daughters of Henry Stephenson. The younger one is Lucille Brown. As the film begins we see Harding with Stephenson and Brown buying Brown's wedding trousseau. Stephenson is a decent sort (when was he not in most of his films?) but he has never been really astute about money matters, and so he is only able to afford $5,000.00 (1933 dollars, of course) for the weddings of both daughters together. But dear little Brown is spending more than her $2,500.00 share. Harding realizes this, and is a good sport - she let's this shopping spree eat up more than 2/3 of the total. After all, little sister is getting married.
Harding is asked by Stephenson and by Brown about her own marriage plans. She has been dating William Powell, a well-known playboy type, but one who actually has a business - a potentially important shipping line that Powell has allowed to be run by others, and is now somewhat shabby. It turns out that Harding actually has her own agenda. She sees that marriage by itself (supposedly based on love) is insufficient, unless the wife can be of use to bring out the best in the husband not only at home but in his career (this film is very much a 1930s film - the idea of the woman building her career is not part of the picture).
Powell is enjoying dating Harding, and it goes beyond a casual, more typical affair of a few days or weeks. But she sets him up (with the aid of her sister and Stephenson). Powell has brought her to his apartment on several occasions (and we imagine it is for more than the cocktails served to them by his butler, Reginald Owen), but one night Stephenson shows up as the angry, red-faced father (signalled to come by Brown after Harding calls Brown up). Stephenson acts as though he is furious, and wants to know the intentions of both Powell and Harding: how do they feel about each other, and will they marry or not? Harding admits she loves Powell, and would marry him, but it is up to him to decide. Flummoxed by the suddenness of the situation, Powell says he wants to marry too. So now the marriage can go through.
Now the title of the film is understandable, as the marriage is the "double harness" of the couple. But the problems are these. No matter how fond he is of Harding, and willing to go through the forms, Powell intends it to be a short duration marriage. Harding is discovering that she is slowly falling in love with Powell, and is also aware that he expects her to divorce him within a six months of their return from their honeymoon (on one of his cruise lines ships).
She gets to work to remake him racing against time - if she can domesticate him (and make him see he likes it) she can save the marriage. She also starts pushing him to get re-involved with the shipping line, and he starts taking charge of it (and it starts improving). Only two things may derail Harding's plans. One is the reappearance of one of the wealthy women (Lillian Bond) who thrived with Powell (or seemed to do so) when he was a playboy. She starts being seen around town with Powell, although he is simply being polite in taking her to lunch at such.
The other thing is Lucille Brown. Her marriage to George Meeker is in jeopardy (again we see no scenes about this) because she can't curb her spendthrift ways. Apparently they had a heavy duty argument at one point, when he agreed to pay off a big clothing bill, a few months after the marriage - he telling her that she better change as he was not rich enough to stand this kind of extravagance. Brown manages to sponge off Harding (using up all of Harding's private money) but still coming back for more. It seems there is a $1,000.00 debt that is owed, and Brown can't face Meeker about it. Harding pawns a ring for $500.00 (Brown is upset that the pawnbroker did not pay her the full value of the ring - as though a pawnbroker would!). But Brown is spoiled and rotten enough to consider either borrowing the money from Powell (without telling Harding) or going to a male admirer (Hugh Huntley) and "making an arrangement" with him for the money.
Harding's and Stephenson's affection for Brown as a member of their family is understandable, but both know she's a selfish, spoiled brat. She does considerable damage in the film - and it is a weakness (I'd call it a serious weakness) that she never really suffers the consequences about it while others do suffer. Somehow that would not pass these days. Otherwise the performances of the two leads (especially the under-appreciated Harding) makes the film quite watchable. Also good is Owen, as the perfect butler/valet, who has a funny sequence at one of the most disastrous dinner parties in movie history.
Double Harness review
JoeytheBrit18 April 2020
A woman afraid of ending up on the shelf grows to regret tricking a wealthy playboy into marriage. Ann Harding makes for a wistful heroine in John Cromwell's adaptation of an Edward Poor Montgomery stage play, while a dapper William Powell shows wry good grace as her reluctant husband. It's stage roots means there's more talk than incident, but it's entertaining enough.
Sophisticated but slight teaming of Ann Harding and William Powell
gridoon202425 January 2018
When you watch a 1933 film you can sometimes learn a lot about the social normes of those times; for example, apparently it was considered a scandal for a single woman to be alone in the apartment of a single man late at night, even fully clothed - the only way to save face if you were discovered was marriage. But does maybe marriage kill the romance? That's the main question of this movie. It's smooth and sophisticated (even with some strange broad comedy with a Chinese cook near the end), if a bit thin on plot. Ann Harding gives a sensitive performance and Willian Powell is suave as always. **1/2 out of 4.
High society romance, marriage, betrayal, and forgiveness
vanq6 April 2007
Warning: Spoilers
I saw this on TCM a couple of nights ago, and stayed up late to see it a second time when it was screened again later in the evening. I had never heard of this movie before, and it turned out to be a pleasant surprise. Based on a stage play, it has sophisticated and witty dialog, and is very nicely acted and directed. William Powell is his usual charming self, and Ann Harding is terrific--exuding intelligence, strength, and femininity in a very difficult role. I can remember seeing Ann Harding in only one other film, Peter Ibbetson, and she made an equally strong impression on me in that film as well.
Powell and Harding work well together, with a seduction scene creating a great sense of intimacy. He's a playboy, and she lays a trap to snare him, which eventually leads to a lot of emotional pain and heartache. Despite all their troubles, there is a certain civility and grace in the way that they deal with each other--and I think it is this quality, more than any other, that makes the film so appealing.
For people who like films of the pre-code era, Double Harness is highly recommended.
Powell and Harding work well together, with a seduction scene creating a great sense of intimacy. He's a playboy, and she lays a trap to snare him, which eventually leads to a lot of emotional pain and heartache. Despite all their troubles, there is a certain civility and grace in the way that they deal with each other--and I think it is this quality, more than any other, that makes the film so appealing.
For people who like films of the pre-code era, Double Harness is highly recommended.
love or not
SnoopyStyle23 May 2023
Carefree playboy John Fletcher (William Powell) inherited the family shipping line, but his lack of ambition has left it floundering. Joan Colby (Ann Harding) sees a business opportunity. For Joan, marriage is business and she intends to get into the Fletcher business. Only she starts falling in love with him.
It's a pre-Code romantic drama. I don't care about Fletcher. It's a little hard, but this movie makes William Powell less appealing. His suaveness is still evident and it makes him the perfect playboy. I'm not sure if these two characters have chemistry. Joan may say that she's not doing it for love, but the movie is still constructing a love affair. The premise is interesting, but difficult. She's trying to have it both ways. It's an interesting capsule of a dated morality.
It's a pre-Code romantic drama. I don't care about Fletcher. It's a little hard, but this movie makes William Powell less appealing. His suaveness is still evident and it makes him the perfect playboy. I'm not sure if these two characters have chemistry. Joan may say that she's not doing it for love, but the movie is still constructing a love affair. The premise is interesting, but difficult. She's trying to have it both ways. It's an interesting capsule of a dated morality.
Getting Rid of Two Daughters
bkoganbing4 April 2007
Henry Stephenson's younger daughter Lucile Brown is getting married to George Meeker. Her older sister Ann Harding is happy for her, but she's got her own ideas about marriage. Remember this is the Thirties before the days of woman's liberation and most women only thought in certain parameters.
She sets a trap for William Powell, a debonair playboy she's been crushing out on for a long time. Being the gentlemen he is Powell marries her, but inevitable problems do ensue.
Double Harness as a film was one I had a lot of difficulty with. The story is an indifferent one, you don't get to really care about these people. Powell, poor man, has to go to work, big deal. Ann Harding's ideas are so much cat litter and Lucile Brown is one spoiled brat who just needs a good spanking, one Henry Stephenson should have given ages ago.
There are some moments with humor, but they're few and far between even in this short film. It's not that dramatic and definitely not that funny.
But this is one of those films in the Thirties when the rich actually put on tuxedos to dress for dinner. People looked elegant, no one was ever better at looking elegant on the screen than William Powell. But he's done so much better work than this. And back in the Depression this was escapist stuff.
Still I've seen better from both Powell and Harding.
She sets a trap for William Powell, a debonair playboy she's been crushing out on for a long time. Being the gentlemen he is Powell marries her, but inevitable problems do ensue.
Double Harness as a film was one I had a lot of difficulty with. The story is an indifferent one, you don't get to really care about these people. Powell, poor man, has to go to work, big deal. Ann Harding's ideas are so much cat litter and Lucile Brown is one spoiled brat who just needs a good spanking, one Henry Stephenson should have given ages ago.
There are some moments with humor, but they're few and far between even in this short film. It's not that dramatic and definitely not that funny.
But this is one of those films in the Thirties when the rich actually put on tuxedos to dress for dinner. People looked elegant, no one was ever better at looking elegant on the screen than William Powell. But he's done so much better work than this. And back in the Depression this was escapist stuff.
Still I've seen better from both Powell and Harding.
Ann Harding rocks!
marknyc4 April 2007
Just saw this on TCM and I have to say I was floored by Harding's performance, who I saw here for the first time. It takes real talent to act in melodramatic scenes and deliver them so naturally that the viewer never questions your authenticity. Harding adds hundreds of little touches - a gesture here, an eye movement there, that make her performance show you what natural acting is all about. In fact, she makes everyone else pale by comparison - Powell is his usual charming self, but next to Harding he comes off as a typical Hollywood performer. And talk about sophistication! Harding has to be the ultimate in "cool". I can only guess the reason she didn't become as big as Hepburn or Davis is that she didn't fight for better films. I'll be sure to look for more of her work soon.
Drama & Comedy At Times
whpratt126 June 2008
This was a great 1933 Classic film to enjoy the great acting of Ann Harding, (Joan Colby) and William Powell, (John Fletcher). This film takes place during the great depression and Joan Colby is an older woman who has not married and her sister, Valerie Colby, (Lucile Brown) is planning to get married which sort of puts the pressure on Joan to do the same thing and not become an old maid. Joan takes an interest in John Fletcher, (William Powell) who is the owner of a Steamship business and at the same time a playboy with lots of women and his business is not doing very well. However, Joan is aware of John's way of living and she manages to trick him into marrying her, even though she does not love him and he has the exact same feelings towards her. After several months of marriage, this couple decide to get a divorce and end their so called marriage relationship. During these months of marriage, Joan is able to conduct business meetings with government people and is able to secure contracts for the Steamship business. John continues to play around, but Joan never gives up on John and the plot gets a bit complicated. From some of the background photography this film wants you to believe this story takes place in San Francisco, California. Enjoy a great old time Classic film.
"Why not be a lily when it's so pleasant?"
utgard1410 August 2014
Talky melodrama about a woman (Ann Harding) tricking a philandering playboy (William Powell) into marrying her. She loves him and thinks she can make him love her and change his ways. The marriage is rocky for a bit but gradually improves and things seem to be working out for her. But then Powell finds out she tricked him. Cue the organ music. Oh wait this movie doesn't have any music. Which is only part of why it didn't click for me. It feels like a filmed stage play. The cast is good but the story is kind of dull, especially for a soaper. Even when people get mad, it's restrained. This movie is listed as a comedy but I'll be damned if I saw anything humorous. It's about as funny as a funeral. The whole thing is a downbeat and serious. William Powell completists will want to see it but I doubt anybody else will get much out of it.
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