Circa 1861, Angelina, ruling countess of an Italian principality, is at a loss when invaded by a Hungarian army. Her lookalike ancestress Francesca, who saved a similar situation 300 years ... See full summary »
Douglas Fairbanks Jr.,
The close relationship between a woman and her two male childhood friends is tested when she accepts a marriage proposal from one of them, while the burgeoning First World War threatens to change their lives forever.
Against her better judgement, happily married Jill Baker is persuaded to see a popular psychoanalyst about her psychosomatic hiccups. Soon, she's disillusioned about husband Larry; and one day in the doctor's waiting room she meets pianist Alexander Sebastian, who's even more confused than she is. Can this marriage be saved? Larry has a plan that is pure Lubitsch...Written by
Rod Crawford <firstname.lastname@example.org>
The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »
When Jill first goes to see Dr. Vangard, as he starts to sit down at his desk, his left hand is on the arm of the chair. In the next shot, still in the process of sitting down, his left hand is now up on his desk. See more »
Mrs. Jill Baker:
I've always heard that the ideal marriage should be something of a mystery. That your husband should remain a kind of stranger to you. Someone whose acquaintance you'd like to renew every day.
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A mild romantic comedy that's atypical of Lubitsch. Merle Oberon looks gorgeous. Her clothes are sensational. Melvyn Douglas is not credible as her crass insurance-executive husband. This is the man who taught Garbo to laugh in the same director's "Ninotcha" and was generally suave and somewhat iconoclastic. As the movie proceeds, he settles into a trick-playing husband not quite consistent with the man who've first met.
Burgess Meredith is sort of wasted as the annoying pianist Oberon meets in a psychiatrist's waiting room. (Alan Mowbry is hilariously dry as the analyst. And in some ways, this is a comment on psychoanalysis.) The Meredith character is the most interest. It is a very convincing study in absolute narcissism. He may be accomplished, indeed; but whether he is or not, he is his own greatest fan and protector.
There are swipes at modern art as well as those at analysis. In some ways, it's a little retrograde.
But it's beautifully shot and the design is fabulous. This is the New York City we'd all love to live in. And Oberon looks ravishing. Her performance is convincingly comic, too, though she is so match for Eve Arden in an all too small role.
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