Another Language (1933) User Reviews

Montgomery's Best Role Ever

[Handlinghandel · 7/10 · 21 January 2006]

A marvelous movie, from start to (just before the) finish.

We meet Robert Montgomery and Helen Hayes, with whom he has eloped recently, on shipboard. She is eager to start their home life together. All he can think of is seeing his mother.

Louise Closser Hale is superb as the suffocating matriarch of his family. The other members, including Henry Travers and Margaret Hamilton, are very good as well. Especially fine is John Beal, as Montgomery's nephew. Indeed, he gives a heart-wrenching performance. It's possibly the best in this movie and he is working against very stiff competition.

Montgomery is not only a mama's boy -- called Vicky by everyone, as his name is Victor. He is also a supreme narcissist: In one shocking scene, he inspects himself in a mirror over the mantel. Directly under the mirror is a plaster bust of him that Hayes has lovingly worked on sculpting. He doesn't even notice it.

It's very hard to fault this movie. The ending is a trifle disappointing. And a Mark Twain aphorism is spoken by one character and laughed at by others, as if it were original to this screenplay.

Hayes is superb and very likable. Montgomery, not generally a favorite of mine, is believable as her self-centered husband. Beal is absolutely superb in a very touching role. And Hale is subtle but compelling as the woman of iron who becomes an invalid the minute doing so will get what she wants from her offspring.

Fine Helen Hayes

[audiemurph · 7/10 · 23 November 2012]

"Another Language" works because the whole is greater than the sum of its parts - and that is not meant to insult the parts. Robert Montgomery plays multiple roles, and he plays them all well: sometimes a genuinely caring husband, sometimes a stand-offish snob, and sometimes a superior bully. It's as if he was doing a greatest hits part.

It is Helen Hayes, however, in one her rare film appearances, who shines out a little more than everyone else. She was really a fine actress, here playing the increasingly isolated and desperate wife of Robert Montgomery, the victim of a squeezing out instigated by Montgomery's petty family. Interesting how at one point one of his "sister-in-laws" suggests that Hayes is "not even that pretty". I guess she really wasn't particularly so, her eyes in particular seemingly too far apart.

But the script moves along delightfully. The ensemble scenes, of which there are many, bringing all 10 or so characters on screen at one time, are surprisingly fun. This is because the writers have managed to accomplish something quite difficult, in allowing the different character's personalities slowly to come through. None of them is all good, but none of them is really all bad, though as a group they are intimidating to poor Helen Hayes.

Even Margaret Hamilton, made up and dressed up to be especially homely, who appears to be the nastiest of the women, shows a little humanity at times - but it is never overdone. A nice touch.

But Henry Travers, as the kindly father, is a source of frustration for the viewer: he knows the games that everyone is playing, and is genuinely sympathetic to Hayes, yet he never actually speaks up for her. This weakness is all the more irksome because it is his wife, the manipulative matriarch (played quite well by Louise Hale), with her many fake fainting spells, who is the cause of the film's discord, and though he is not afraid of her, he never helps out either.

An interesting film, and not as predictable as it might seem.

Good domestic drama from Rose Franken who wrote "Claudia"...

[Doylenf · 6/10 · 21 May 2008]

ANOTHER LANGUAGE is the story of a marriage that suffers because the husband (ROBERT MONTGOMERY) is a self-centered snob ruled by a family that views its mother (LOUISE CLOSSER HALE) as the matriarch of the family who must be paid attention at all costs and smothers Montgomery with motherly affection. I loved the line spoken by HENRY TRAVERS, who tells her at a crucial moment, "Shut up, ma and don't faint. He's not looking."

HELEN HAYES gives one of her more natural performances on film. Very often she was prone to stage acting techniques, but here her manner is subdued and never overplayed. Montgomery is excellent and makes the man a weakling the viewer can never really warm up to until the final moments when he stands by her side.

Rose Franken was an expert at telling stories about family relationships, as she did with "Claudia" and the sequel "Claudia and David". Here she paints a vivid portrait of unpleasant family relationships.

In strong supporting roles, MARGARET HAMILTON and JOHN BEAL repeat their stage roles effectively.

Pretty darn good

[marcslope · 7/10 · 10 December 2013]

Rose Franken, now forgotten, was an estimable playwright of the first half of the 20th century, one of the very few women to reliably write Broadway hits. This is one such hit, a 1932 drama faithfully filmed with much of the original cast, with dialog neatly refashioned by two of MGM's best screenwriters, Herman Mankiewicz and Donald Ogden Stewart. Franken wrote particularly well about family dynamics, and that's pretty much all this is, the story of young marrieds threatened by the groom's unquestioning domination by a catty, conservative family, most especially his horror of a mother, well played by Louise Closser Hale. He's not an especially likable hero, often petty, self-centered, and domineering toward his wife, and Montgomery isn't afraid to emphasize his less attractive traits. So Helen Hayes is left to suffer quietly, trying to maintain her composure as his relatives mercilessly nitpick at her, and crushed every time she attempts to fight back. Hayes is, as usual, sexless, but she effectively catches this woman's desperation, and she partners well with John Beal, quite touching as the nephew who falls in love with her. (What happens to him? After his final exit, I expected to hear an offstage gunshot.) It's economical, swift storytelling, with a bunch of good character actors in support, and their portrayals, thanks largely to the writing, are well-rounded-- nobody's totally awful, except Louise Closser Hale's grasping mama.

Somebody has to break the silver cord.

[mark.waltz · 6/10 · 20 March 2018]

Another variation of the mother love gone too far plot, this film version of the Broadway play was one of many films on the subject of the needy, aging mother keeping their sons bonded to them through passive/aggressive manipulation and guilt. Louise Closser Hale can be added to the many women who played such a role, most notably Laura Hope Crews in "The Silver Cord" the very same year as this, and while Crews was cloying and obvious, Hale is far more crafty. Only her daughters-in-law seem to be able to see through her, especially the new one (Helen Hayes) and the one who's probably been through what Hale is now putting Hayes through. Margaret Hamilton plays that part, and other than a few gossipy moments, she is really the only sympathetic member of the family outside of Hayes and husband Robert Montgomery, Hale's youngest. Using health issues and a subtle domineering nature as the family matriarch, she has henpecked husband Henry Travers into becoming a quiet milquetoast, unaware that he sees right through her and would rather keep his mouth shut and have some peace and quiet, avoiding any confrontation. But he takes to his new daughter-in-law instantly ("Finally, a blonde in the family!"), and it is obvious that other daughters-in-law (Irene Cattell and Maidel Turner) are jealous of Hayes' youth , beauty and fashion sense.

Hale's older sons ( Willard Robertson, Minor Watson and Hal K. Dawson) are either pompous fools, overly gregarious jokesters or total squares, the most annoying being the one who continuously zips his index finger up the back of his sisters-in-law's backs simply to "shock" them. Today, he'd get a smack from any new daughter-in-law, but Hayes, wanting to make a good impression on her new family (she seems to have none of her own), tolerates it, even though secretly, you can see she's very uncomfortable around all of them with the exception of Montgomery's nephew, John Beal, who shares her love of art and poetry. This of course creates speculation that something more is going on between Hayes and Beal, and everything explodes at a gathering at Hayes and Montgomery's apartment after years of Hayes trying to avoid the regular Tuesday night gatherings at her in-law's house. Of the extended family, it is only Hamilton who sees what's really going on, and for once, her character steps up for what's right as opposed to the many gossipy spinsters and trouble-making neighbors (and witches, of course!) she played throughout her career. This being her film debut after having been in the play, it's obvious why she quickly settled into movie making. Hayes, it should be noted, isn't all innocent here; It's obvious from the get-go that she dislikes most of the family and goes out of her way to avoid them as much as possible, even instantly trying to take charge with an overly large bouquet of flowers. This is a very human and well acted story that expresses both the importance of family support yet the need for newlyweds to be able to have their own lives past the prying eyes of mothers who love far too much.

Touching Drama

[winstonchurchill-93755 · 7/10 · 22 May 2018]

These non politically correct movies are the most enjoyable. Although his comedy is best, Robert Monty's drama skills are put to good use in this romantic drama. Snobby family versus down-to-earth daughter in law is predictable but it still works.

The honeymoon's over...

[HotToastyRag · 7/10 · 7 July 2020]

Another pairing with the adorable Helen Hayes and charming Robert Montgomery! Technically, this one came first, but I watched it after 1935's epic drama Vanessa, Her Love Story. This one pairs them together in a different setting, more modern setting. They meet while on vacation and impulsively married, but when they come back home and try to live together, they run into some problems.

There's an old saying that when you marry a man, you marry his mother. Countless women will disagree, only until they start having problems with their mother-in-law. Helen finds the truth in this, as her mother-in-law, Louise Closser Hale, is a force to be reckoned with. The rest of his family, Henry Travers, Margaret Hamilton, Willard Robertson, Irene Cattell, Minor Watson, and Maidel Turner, aren't people Helen would choose to live with, but Louise is the worst. She completely disapproves of Helen and notices the fundamental differences between her and Bob. She actively drives a wedge between them and manipulates Bob until he's forced to choose between them. The only person in the family on Helen's side is Bob's nephew, John Beal.

Is Robert Montgomery really old enough to have a nephew the same age as his bride? That's neither here nor there, but still, if I were Helen, I wouldn't look twice at anyone else. It's quite painful to see him have flaws, though, especially deep-seeded flaws that won't ever go away. When a man sides with his family over his bride, that won't change. I liked Vanessa, Her Love Story better, so if you're on Team Bob, you'll probably feel the same way.

A well-written screenplay and wonderful acting make this movie a joy to watch.

[Art-22 · 8/10 · 16 April 1999]

Anyone interested in family relationships will surely enjoy this movie about a manipulative matriarch, Louise Closser Hale, who is not averse to fake fainting spells to get her way with her four sons and their wives. The acting is first-rate by a stellar cast, five of whom (John Beal, Hal K. Dawson, Irene Cattell, Maidel Turner and Margaret Hamilton) were in the original Broadway production which opened 25 April 1932, and who reprised their roles. This was also the film debut of Beal, Hamilton and Cattell (the only film she ever made). But kudos go to the magnificent Helen Hayes as the new addition to the family who stands up to Hale, John Beal, as her sensitive nephew who falls in love with her, and Robert Montgomery playing Hayes' husband, still under the control of his mother. I thoroughly enjoyed this movie. Stick with it until the end; the last 20 minutes are as riveting as any drama can be.

Manipulative Mother Movie

[view_and_review · 7/10 · 15 December 2023]

Families, and especially mothers, can have a terrible grip on a member. Due to his love and fealty he can find himself forever at their mercy and forever trying to please them. That's the position Victor 'Vicky' Hallam (Robert Montgomery) found himself in.

Vicky eloped with Stella (Helen Hayes). The two return from a trip abroad to meet Vicky's family. Stella was put off by his family right away. The brothers joked around too much, the sisters were too judgmental, and the mother... what can I say about the mother (Louise Closser Hale)? She was a miserable manipulative wretch who was only satisfied when she had her three boys doting over her. Helen could see how Vicky's mother and family had their claws sunk into him, but he could not.

As Stella fought for her husband's loyalty, love, and attention, she was getting unwanted love and attention from Vicky's nephew, Jerry (John Beal). He was a young man in his freshman year of college. The moment he and Stella saw each other I knew there were going to be problems. They locked eyes too long--the Hollywood way of showing there was a spark between them. For Stella's part, she wasn't smitten with Jerry as he was with her, although it did take her a tick too long to realize she had an admirer. And when she did realize it I don't think she did nearly enough to nip it in the bud.

But, we had to have drama.

"Another Language" was very similar to the movie "The Silver Cord" starring Joel McCrea and Irene Dunne. In "The Silver Cord" Joel McCrea had gotten married to Irene Dunne then the two went to meet his mother. The mother was extremely manipulative, using her sly ways to keep her two sons near. She even used the same poor health trick that Mother used in "Another Language." Joel McCrea was near losing his wife because of his obedience and deference to his mother.

Manipulative mother movies hit me like almost nothing else. I've seen it up close and personal and it's ugly. They can break up happy homes and turn men into mice. As Frances Dee said in "Silver Cord" after leaving her fiance (played by Eric Linden): "Next time I'm dating an orphan."

Free on Odnoklassniki.

"Another Language" gets lost in its translation from stage to screen

[Dan-13 · 5/10 · 28 September 2018]

There's a good film hiding within "Another Language," but it's overshadowed by an overwrought plot and, most significantly, an unsympathetic central character.

The plot concerns Stella (Helen Hayes), a newlywed whose husband Victor (Robert Montgomery) is blind to his family's boorish behavior and their immediate dislike of his new bride. Worst in the bunch is his smothering mother (Louise Closser Hale), whose reaction in every scene is to pretend to be ill to gain her sons' sympathy. Why none of her stupid children see through her manipulative behavior boggles the mind. Victor (or as his family annoyingly calls him, Vicki) is the most frustrating character in the film. He takes his family's side whenever a conflict arises and treats his wife not only like a stranger, but with disdain. It's a mystery as to what Stella ever saw in him and for that matter, why she hasn't walked out on him. There's also a subplot involving Victor's nephew who falls in love with Stella that is never fully developed, nor is it resolved to a satisfying conclusion.

Another weakness, as someone else pointed out, is that the one family member who shows any compassion toward Stella is Victor's father (Henry Travers), yet he never stands up to his wife or any of the other relatives who are always attacking Stella.

Hayes is acceptable in her role, but it's easy to see why she never became a successful film star. Whatever magic she had on stage doesn't translate to the screen. Her acting is sometimes mannered and she doesn't have a face the camera would fall in love with. She isn't helped by Montgomery, who is just so unlikeable in this film. The two have zero chemistry.

Louise Closser Hale fares better as Mrs. Hallam, the mother-in-law from hell. The standout, though, is Margaret Hamilton in her film debut as one of Stella's sisters-in-law. Though bitchy most of the time, she does show some humanity in the final reels and is the only truly believable member of the family. The movie is only worth sitting for through the performance of this consummate character actor. It's like she's speaking another language compared to the rest of the cast.

may contain spoiler

[mukava991 · 8/10 · 2 June 2006]

Based on a Broadway play, ANOTHER LANGUAGE is one of those gems from yesteryear that few have heard of. It has much to recommend it, chiefly: believable and detailed interaction among members of a rather large and unpleasant family, mostly given to self absorption but with moments of genuine compassion and caring that surface unexpectedly. One of the members of this family is Margaret Hamilton (who was in the Broadway original) in one of the few roles that allowed her to enact a somewhat complex human being. Louise Closser Hale is perfectly cast as the controlling, selfish mother who sets the tone for her whole brood. Helen Hayes, a supremely skilled actress who could play ordinary people and make them fascinating, wins the viewer over completely as the bride who runs afoul of her in-laws. I wanted to marry her myself! The standout, however, is young John Beal who delivers a passionate performance as Robert Montgomery's younger brother. ***POSSIBLE SPOILER FOLLOWS*** His character is introduced well after the conflict between Hayes and the family is established. He is appalled that his family is treating Hayes so shabbily and falls madly, dangerously, recklessly in love with her. His vital, fresh-faced, youthful innocence and earnestness captivate the viewer. He too had played the same role in the stage version. This performance might have launched Beal to the top of the Hollywood firmament, but Hollywood didn't suit him, and he settled into a 60-year career of minor films, regional theater and numerous TV roles. Montgomery himself is top notch, as usual, playing the insensitive product of his narrow-minded mother's upbringing. Don't let the conventional opening scene as Hayes and Montgomery disembark from their honeymoon cruise fool you. It gets better fast. The theme is similar to that of HOLIDAY, based on a Philip Barry play, in which a free-spirited outsider clashes with members of his fiancée's stodgy, traditional banking family. Although not cinematically daring in any way, ANOTHER LANGUAGE delivers the emotional goods.

I wasn't so impressed by this one...

[planktonrules · 4/10 · 11 September 2011]

The film begins with Robert Montgomery and Helen Hayes returning from a honeymoon following a whirlwind courtship and marriage. She is about to meet his family for the first time and she seems to have a sort of foreboding that things will not go well with them. This, to me, is poor writing--while I liked the film, how could Hayes have known this considering she never met the people?!. And, that's what happens--his family is very close but also rather catty and critical of newcomers while smothering of Montgomery--and Montgomery sees none of this. They are not especially welcoming of Hayes and nitpick her. All of this is led by Montgomery's mother--the matriarch and manipulating force in the family. At the same time, Helen's new nephew (John Beal) is unlike the rest of the family. Far from it--instead of being against her like the rest, he's obviously smitten with her. What will become of all this and how can this new marriage take all these external attacks--especially when the husband is clueless and self-absorbed?

I noticed that most of the reviewers really liked this film--and a few loved it. Well, I hate to be the odd man out, but I just didn't see what they saw in "Another Language". I felt that in addition to telegraphing the major conflict in the film it also suffered from several overwrought performances and a difficult to believe ending. It also, at times, was VERY talky. My feeling is that the plot idea's pretty good but that's all. I really think it would have benefited from allowing the problems to occur without forcing them---and this film felt rather contrived.

another language

[mossgrymk · 8/10 · 28 December 2023]

Trouble with the in laws? Try spending an hour and fifteen minutes with the Hallam clan. I guarantee that they'll make your spouse's folks look delightfully eccentric. In other words, this is a wonderful study in reverse snobbery (The Hallams think their son's wife is "high hat" while it is they who act superior), casual social cruelty (the constant digs, disguised as offhand remarks, at the daughter in law's dress and manner and way of life), and sheer annoyance, from the constant stream of banal gossip to the mother in law's strategic fainting to the brother in law's stupid jokes and even lamer pranks.

So, great social satire that, in the hands of two of 1930 and 40s Hollywood's best scribes, Herman Mankewiecz and Donald O Stewart, at times rivals Sinclair Lewis or Kaufman/Hart. And the performances aint bad, either. Especially good are Louise Closser Hale as the long suffering (and doesn't she let you know it!) matriarch of the Hallams, Henry Travers as her weak but much nicer husband, Margaret Hamilton as the wasp tongued, faintly sympathetic sister in law and Hal K Dawson as the brother in law you'd love to punch (surprised it didn't happen). As the married couple who must put up with the above Robert Montgomery and Helen Hayes are fine, especially Hayes in one of her more restrained acting turns. The only performance that strikes me as wooden or clunky is that of John Beal as the rebellious, artistic nephew, but then he is given the flattest of Mank and Stewart's otherwise sharp dialogue. Biggest weakness in the film, though, is neither the writing nor the acting but director Edward Griffith's inability to seem to have any idea that there is such a thing as visual comedy. (i.e. Film's fairly stiff/stagey). Give it a B.

Hallam Family Values

[bkoganbing · 5/10 · 26 September 2018]

A solid cast assembled by MGM makes another language look far better than it really is. Why that whole family doesn't put Louise Closser Hale in her place is beyond me.

Robert Montgomery of the Hallams meets Helen Hayes while in Europe and they marry there. She''s a free spirit of sorts who doesn't have any close family. What she finds in Montgomery is that he's pretty well smothered by them.

These Hallams are a bunch of snobs who take their cue from Mom. Henry Travers who is the father is a kindly but weak figure. Hale cuts Hayes at every opportunity and Hayes just burns inside. That is until Montgomery's nephew John Beal a most callow youth who is also smothered by the Hallam family falls for Hayes and makes some moves.

The play by Rose Franken ran 334 performances on Broadway in the 1932-1933 season and MGM bought it up immediately. Beal and Margaret Hamilton repeat their roles from Broadway.

It's an old fashioned type drama, one hardly in demand for a remake. But the cast is perfect and they put it over.

Entertaining pre-Code fare

[gbill-74877 · 8/10 · 4 March 2022]

A young couple who've eloped (Robert Montgomery and Helen Hayes) return to New York and begin spending time with his family - his parents, two brothers and their wives, and his nephew. It slowly turns into a nightmare for her, because the mother is manipulative of her son, the sisters-in-law mix in cutting remarks with their pleasantries, and one of the brothers-in-law is an immature bore (one of the things he does is surprise women by running his hand along their back and making a slide whistle sound).

Her marriage begins to deteriorate because her husband sides with his family in their assessment that she's "high hatting" them. While it's true that she's more worldly and refined, she doesn't look down her nose at them at all, and in reality suffers from their barbs at the weekly get togethers. Enter the nephew (John Beal), who is also a bit of an outcast in the family, because he's interested in things like architecture and travel. He soon develops feelings for his aunt that go beyond normal affection, but despite her own unhappiness, she reminds him of how inappropriate it is.

You might divine that this is a pre-Code film because it deals with the incestual love a nephew has for his aunt, which, even if it isn't by blood, is obviously a taboo subject, or maybe because of a scene with a female model in the background of a sculpting class draped with thin sheer fabric. Despite how salacious it sounds (or how production stills show the model from the side, close-up and almost entirely nude), it feels pre-Code mostly because of how honest it is. There is such a realistic portrayal of the family's passive aggressiveness here that it's very frustrating and claustrophobic, and the script has a tight, very modern feel to it, particularly in the ensemble scenes.

I love Margaret Hamilton in this as one of the sister-in-laws, and Helen Hayes is as radiant as ever. Louise Closser Hale is great as the mother too, even if the character is irritating, and it's notable that it was her last film, as she would die at 60 two days before the film was released. It zips along at 77 minutes, never lagging, and while I wish it had ended a little differently, it made for a satisfying watch.

Superb cast helps to offset the corny melodrama...

[moonspinner55 · 5/10 · 21 January 2008]

Well-acted soaper about a young married couple who are nearly torn apart by the husband's vulgar, meddlesome family. Terrific cast, including Helen Hayes, Robert Montgomery, Henry Travers, and the glorious Margaret Hamilton, do a fine service to Rose Franken's play, adapted by no less a script-whiz than Herman J. Mankiewicz (with uncredited help from yet another auteur, Donald Ogden Stewart). The comedic throw-away bits work best, however the lapses into knuckle-biting melodrama are dated and detract overall. Still, the film's initial half-hour is quite strong, and Hamilton is a hoot as Montgomery's spinster sister. ** from ****

Hallowed Matriarchy

[deltascorch90 · 10/10 · 26 August 2012]

This is a film the MacGuffin of which is the matriarch of Montgomery's character's family, and she is the crux of a rippling wave of problems that goes to affect nearly all those around her. Her husband is a weak man, who habitually occupies himself in a relatively passive role doing things like assembling a puzzle. Montgomery's mother is a domineering, manipulative, self-centered egotist who seems to have some plan wherein all the attentions of the people in her world are exclusively devoted to her and her interests. Indeed, much of the time she is acting the part of a drama queen in order to incriminate Hayes and cause her to appear as a wretched person.

What can we say? Is Hayes a bad wife for attending to her art school passion, lovingly crafting a bust of her husband? Montgomery's mother is a true conservative, subscribing to the notion that a woman is only and is ought to serve her husband -- an ironic viewpoint given her position as matriarch of her entire family structure. It is not at all possible to watch a few minutes of this film and not be reminded of Everybody Loves Raymond, specifically Marie and the way in which she criticizes Deborah for not being a carbon-copy of herself. We cannot even interpret the conflicts of this film as being one between familial obligation vs personal desire, because the expectations held by the mother merely demand obedience without compromise: things must be her way, regardless of the fact that she is a mother or even an elderly person. She could be five years old or eighty years old, she is nothing more than a selfish person.

Helen Hayes has a character which we can readily sympathize with. Not only will she do whatever she can to save her marriage, but she frequently has to endure being criticized and told she is wrong, and doesn't even attempt to defend herself, as it would harm her marriage. Even Montgomery stands against her, and his quasi redemption at the end seems too much a forced ending to really generate any sympathy for his character.

Indeed, this is a very different role for Montgomery, who feels quite out of place here. A mama's boy? He certainly isn't the type of character that would fail to be at his wife's side when she needs him in any other of his film's, and so this is a unique experience, to say the least.

Jerry's character is interesting, being a person as tactlessly and unquestionably fixed upon bringing about what he finds to be right as Marcus Junius Brutus. Can we sympathize with him for not even attempting to restrain himself from falling in love with his aunt? For not respecting the marriage of his uncle? Such a character doesn't sound altogether out of place from an antique tragedy.

This is a strong film, and a good one at that, as is any which is able to produce such strong emotions in the viewer.

Major dud

[jelinek-20124 · 4/10 · 16 December 2023]

I'm completely shocked to see that anyone else on here actually liked and even praised this dreadful pre-code film.

What is there to like? It's filled with unsympathetic and unlikeable characters, has a strange and somehow kinky subplot about a nephew who's innocently in love with Hayes' character (which startlingly is revealed from out of the blue) and features a preposterous happy ending.

What did Hayes ever see in Montgomery's character? Its certainly never detailed. And how unforgivable is it that he never even acknowledges the bust lovingly crafted in his image by his wife?

I have to assume that some of my answers were left on the cutting room floor due to censorship.

leave him

[SnoopyStyle · 5/10 · 17 December 2023]

Victor Hallam (Robert Montgomery) had married Stella (Helen Hayes) during his European vacation without telling his family. Everybody is happy and congenial to her at first. She is going to art school. There is growing division especially with his manipulative mother (Louise Closser Hale) and her dislike of art school. It leads to trouble in the marriage. The only supportive voice in the family comes from Victor's nephew Jerry Hallam (John Beal).

This is a pre-Code drama. Mother and son are not appealing characters. The movie doesn't give much time to the couple's chemistry when it just drops them into the story without showing any of the courtship or giddy romancing. I'm not sold on them and they're already breaking apart. Good riddance. She should leave him sooner rather than later. As for Jerry, his problem can be solved afterwards. I don't like the ending.