Mary, a writer working on a novel about a love triangle, is attracted to her publisher. Her suitor Jimmy is determined to break them up; he introduces Mary to the publisher's wife without ... See full summary »
Mary, a writer working on a novel about a love triangle, is attracted to her publisher. Her suitor Jimmy is determined to break them up; he introduces Mary to the publisher's wife without telling Mary who she is. Written by
Diana Hamilton <email@example.com>
In the garden at Bridget's home, Mary is next to a small statuette that holds a wreath and stands on a simple pedestal. In the next scene, the statuette's relationship to Mary has changed, the wreath is missing, and the pedestal more complex. In the third scene, the statuette has reverted to that in the first scene. See more »
I tell you this is an awfully hard age for a good woman to live in - I mean a woman who wants to have any fun. The old instincts of right and wrong merely hold you back. You're neither one thing nor the other. You're neither happy and bad, nor good and contented. You're just discontentedly decent.
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Adapted from, and probably not that different from, a Rachel Crothers stage play of the previous season, this marital trifle wants to be a sophisticated comedy, but isn't that comedic and isn't that sophisticated. The tale of a writer (Loy) pursued by a playboy (Montgomery) but having an affair with her publisher (Morgan) in front of his wife (Harding)'s eyes, it's agreeably pre-Code in that there's much unapologetic drinking and much fairly frank discussion of adultery, but the jokes are mostly variations on somebody's-in-bed-with-somebody-they-shouldn't-be-in-bed-with, and Alice Brady, as the ditsy socialite meddling in everybody's affairs, is one-note, the same note she plied in many similar performances. We're supposed to root for Montgomery, but he's rather smirky, and Loy, while beautiful and accomplished, is a little hard to believe as having the wit and thoughtfulness to pen one bestseller after another. Harding's intelligent and feminine, as always, but she's played this part before and isn't adding anything new to it. It's stagy and static (and where, oh where, did they get the idea that that's what a Lower East Side apartment would look like?), and the ending's unsatisfyingly ambiguous--so, do they end up together or don't they? Not that one cares much.
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