The trailer crows ‘Grand New, Brand New,’ but it’s M-G-M’s third go at this puerile French Boulevard play, seen on B’way in 1927 with Jeanne Eagles & Leslie Howard in roles now inadequately taken by Norma Shearer (in something of a humiliation) and Robert Taylor (working too hard). The main gag has Shearer, in her screen swansong, stuck on caddish lover-boy George Sanders and hiring Taylor to keep her from acting on her worst instincts. The job fits Taylor fine since he’s already positively, if inexplicably, twitterpixed over M-G-M’s time-tarnished doyenne of original contract players. No surprise to find her coming ‘round to him in a slightly more action-oriented third act added to the sedate play script. It’s meant to be very ‘La-Di-Da’ (a first act all about evening clothes restrictions), and if you watch how Sanders throws his lines away rather than holding forth like the two leads, you can see how this just might have worked in ‘40s New England Summer Stock with Leading Ladies of a certain age and fascination. Kit Cornell? Ina Claire? Gertrude Lawrence? Tallulah? Heck, director George Cukor had over-seen a stage revival with none other than Laurette Taylor. So, he certainly knew the score, but maintained something of a soft spot for Shearer in what was their third film together. Perhaps he admired her sheer persistence & work ethic from time on ROMEO & JULIET/’36. Alas, traits largely unsuited to this gossamer material.
DOUBLE-BILL: Cukor was fresh off similar unhappy career-ending duties with Greta Garbo on the ill-fated TWO-FACED WOMAN/’41. He’d return to form (and then some) with GASLIGHT/’44.
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