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Two Heads on a Pillow (1934)

Two attorneys who used to be married to each other are representing opposite sides in a divorce case.



(story "Eternal Masculine, The"),


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Cast overview, first billed only:
John C. Smith
Evelyn Smith / Evelyn Adams
Enrico Populopulini
David L. Talbot
Mitzie LaVerne
Mary Forbes ...
Mrs. Caroline Devonshire
Judge Benjamin Gorman
Albert Devonshire
Pamela Devonshire
Mrs. Agnes Walker
Eddie Kane ...
Samuel Walker (as Edward Kane)
Mrs. Helen Gorman
Anthony Populopulini
Mrs. Van Suydam
Nellie V. Nichols ...
Mrs. Rose Populopulini


Two attorneys who used to be married to each other are representing opposite sides in a divorce case.

Plot Summary | Add Synopsis


Comedy | Romance





Release Date:

2 October 1934 (USA)  »

Also Known As:

Love Can't Lose  »

Company Credits

Production Co:

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Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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User Reviews

Two married lawyers divorce, then represent opposite sides in an annulment case.
29 September 2011 | by See all my reviews

After Jack Smith (Neil Hamilton) and his wife (Miriam Jordan) divorce, she completes her legal education, and they oppose each other in a courtroom in a case involving damages over an annulment forced by a meddling mother-in-law. The case itself reflects the root cause of their own divorce (a meddling mother-in-law). Whether love wins over the "battle axe" dowagers in either case is the basis for the plot of this little comedy.

In some ways this film is a precursor to "Adam's Rib," but Hamilton and Jordan, of course, can't rival Tracey and Hepburn. Even so, there are some notable features making a viewing worthwhile. First, Jordan does a pretty good job of portraying a competent, self-assured and successful layer at a time when women attorneys were rare. Second, she also makes a worthwhile and (relevant to our own times), albeit brief, statement about the credentials as a true American of the son of the immigrant businessman Henry Populopulini (played fabulously by Henry Armetta, who stole every scene he was in). Third, the film offers a case study about attitudes toward marriage, in-laws, and class consciousness in 1934.

Although stagy, with a somewhat abrupt and unsatisfying ending, we can be grateful to the Library of Congress for restoring this film.

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