A piano teacher believes that her fiancé was killed on the battlefield. When he miraculously returns, they decide to marry, but are threatened by a wealthy, egotistical composer the piano teacher started dating on the rebound after she became convinced her love had died.
Popular and beautiful Fanny Trellis is forced into a loveless marriage with an older man, Jewish banker Job Skeffington, in order to save her beloved brother Trippy from an embezzlement charge, and predictable complications result.
When his fiancée Valentine dumps him, prominent lawyer Geoffrey Sherwood goes on a bender and winds up married to a stranger, Miriam Brady. They decide to give their marriage a chance. ... See full summary »
Sandra and Pete elope but their marriage is invalid since she's not yet divorced. Sandra is, however, pregnant by Pete. Pete marries his former fiancée Maggie, then flies to South America where his plane crashes. Maggie pays Sandra to let her adopt Pete's baby. Pete returns "from the dead". Sandra and Maggie contend for Pete and the baby.Written by
Ed Stephan <firstname.lastname@example.org>
Mary Astor mimed playing the piano in this film extremely convincingly, being an accomplished pianist in her own right. However, the actual piano playing on the soundtrack was dubbed by Max Rabinowitz. When close-up shots were required, Norma Drury 's hands are those we see on the piano. See more »
Maggie and Violet are in the kitchen when a horn honks that sounds like it's right outside the door. But, when Violet goes to look, the car is just pulling into the property, quite a ways from the porch. The horn couldn't have been that loud from that distance. See more »
An amazing unfolding story that arises out of a ridiculously implausible plot that nevertheless is a classic film. Who needs a plot anyway when you have Mary Astor and Bette Davis fighting over the quietly cool George Brent? Throw in an unexpected pregnancy and a trip to the Arizona desert to keep the mother from having a miscarriage due to her bad habits, with boredom, sand storms, and endless cigarettes. The way it sounds is not at all like the impact it produces. There's one point in the film's second half when people might be thinking that it would be a good place to end the film, keeping the lie intact. But Edmund Goulding makes the absolute most of what follows, hitting the real ending with power and precision.
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