Colman and William Hawks got together to start their own firm and made two failures, this and LUCKY PARTNERS, which should be proof that actors often don't know what's best for them. What might have been a frothy farce in another director's hands turns out to be flatter than last night's
champagne under Milestone. Based on a harebrained French play, the location of the story was switched from Venice, Italy, to California, and all the elan disappeared. Colman's costar was pert Lee, who looked young enough to be his daughter (and could have been as she was 25 years his junior) and
yet there was no mention of a May-December relationship. He's a successful publisher who is spending entirely too much time at his work, so his wife, Lee, begins to chase around with several younger men. She first takes up with sculptor Gardiner and sends Colman a telegram to that effect. He
leaves his office and goes traipsing after her to put a stop to her dizziness. On his way to her side, he flashes back (talking to the camera, saying things like "I'll explain this all to you later") to the affair she had with Roland, a wealthy Argentine she'd once had a fling with in Palm Beach.
He arrives in time to stop the latest romance and winds up with Lee once more, although, if patterns are to be believed, she'll be straying off with someone else in due time. The picture of urbane Colman having to woo his blithering wife back from the likes of Roland and Gardiner did not sit well
with anyone, and this picture vanished beneath the surface like the $s2Lusitania$f1. British born Lee began her career in 1932 with EBB TIDE and will best be remembered for HOW GREEN WAS MY VALLEY. She married playwright/novelist Robert Nathan in 1970 when she was 57 years old after doing her last
important role in STAR (1968).
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- Rating: NR
- Review: Colman and William Hawks got together to start their own firm and made two failures, this and LUCKY PARTNERS, which should be proof that actors often don't know what's best for them. What might have been a frothy farce in another director's hands turns out… (more)