Those three Norma Shearer films, along with this, were released within a similar period, between 1930 and 1931, and other than different character names, are almost the same. This drawing room comedy is most memorable for the joining together of MGM's first two contract actresses to win Oscars-Shearer and Marie Dressler. It is obvious that Ms. Shearer gave this film to Dressler on a silver platter, even if she plays a woman of two different faces: a plain Jane wife and mother who loses her husband (Rod La Rocque) after finding out about the other woman in his life, then three years later, now a ravishing beauty, encounters him at a society party thrown by Dressler.
Dressler gets life in immortality (as opposed in prison) for theft, stealing this film so easily. A raised eyebrow, a sideways glare at her butler, or laughing raucously at one of her various guests, she is a treasure. Her St. Bernard eyes (I'm still convinced that she was re-incarnated as the dog on the "Topper" TV series) growl as she peruses a Hirschfeld like sketch of her on the society pages.
The one major flaw in this is the casting of the effete La Rocque, an extremely ineffectual leading man, as the ex-husband. Why any wife would want him back is a question never answered. He is charmless. Future gossip columnist Hedda Hopper adds imperious nobility as one of the ridiculous uppity guests. As far as drawing room comedy goes, this is extremely dated, but comes to life whenever Dressler appears, reciting her lines as if she was biting into a lobster without removing the shell.
Dressler gets life in immortality (as opposed in prison) for theft, stealing this film so easily. A raised eyebrow, a sideways glare at her butler, or laughing raucously at one of her various guests, she is a treasure. Her St. Bernard eyes (I'm still convinced that she was re-incarnated as the dog on the "Topper" TV series) growl as she peruses a Hirschfeld like sketch of her on the society pages.
The one major flaw in this is the casting of the effete La Rocque, an extremely ineffectual leading man, as the ex-husband. Why any wife would want him back is a question never answered. He is charmless. Future gossip columnist Hedda Hopper adds imperious nobility as one of the ridiculous uppity guests. As far as drawing room comedy goes, this is extremely dated, but comes to life whenever Dressler appears, reciting her lines as if she was biting into a lobster without removing the shell.