Tom Collier has had a great relationship with Daisy, but when he decides to marry, it is not Daisy whom he asks, it is Cecelia. After the marriage, Tom is bored with the social scene and ...
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Tom Collier has had a great relationship with Daisy, but when he decides to marry, it is not Daisy whom he asks, it is Cecelia. After the marriage, Tom is bored with the social scene and the obligations of his life. He publishes books that will sell, not books that he wants to write. Even worse, he has his old friend working as a butler and Cecelia wants him fired. When Tom tries to get back together with Daisy to renew the feelings that he once felt, Daisy turns the tables on him and leaves to protect both of them.Written by
Tony Fontana <firstname.lastname@example.org>
Previous reviewers have summarized the plot well. Likewise its pre-code frankness. But what makes this movie most interesting is the unusual context the various stars find themselves in. Think playwright Phillip Barry. What comes to mind: "The Philadelphia Story." Think Leslie Howard: "Pygmalion" and "Gone with the Wind." Think Myrna Loy: the "Thin Man" series. Think William Gargan: many later movies. Notice that Myrna Loy, later such an important star, has to take third billing after Ann Harding. That certainly wouldn't have been the case just a few years later. Good to see Ilka Chase in a screen role. I thought Howard and Loy superb in their acting, probably among the best work they ever did. Under the banal everyday polite surface of the dialogue and events little by little the characters expose themselves: Loy as the manipulative femme fatal and Howard as the man for whom the light begins slowly to turn on. For those whom the title puzzled, I caught Howard saying at one point, "We're just members of the animal kingdom."
Compare this film to Platinum Blonde of 1931 starring Jean Harlow. My IMDb review summarizes the parallels between these two films.
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