Attractive socialite Joan Crawford (as Marcia) waits over two hours for dinner at seven with randy Robert Montgomery (as Sherry); then, she furiously strips off her evening wear, and hits the sheets. Ms. Crawford is comforted by gruff grandmother Edna May Oliver (as Fanny). Mr. Montgomery arrives to charm Crawford out of her bed, and into the nightclubs. While out drinking, the two encounter both potential and former romantic partners. Returning, separately, to Crawford's home, the two share a late-night snack, and decide to marry. Though happily in love, they find it difficult to change the old lifestyle...Crawford looks very glamorous, photographed by Oliver Marsh. The noteworthy supporting cast includes soon-to-be husband Franchot Tone (as Jim), one of Crawford's suitors. In her debut appearance, young Joan Fontaine (as Caroline) plays one of Montgomery's admirers (he calls her "Old Carol"). Ms. Oliver, the most amusing, stays home and plays backgammon with Reginald Denny (as Oliver). Everyone smokes and drinks up a storm. Montgomery acts tipsy at times, but Charles Ruggles (as Edgar) plays drunk throughout. All are celebrating the end of Prohibition, no doubt.***** No More Ladies (1935) Edward H. Griffith ~ Joan Crawford, Robert Montgomery, Edna May Oliver

One of many sophisticated, romantic, comedic trifles to emerge from the 1930's, this one has its merits, but is also fairly unremarkable. Crawford plays a petulant socialite who's tired of the inconsistent attention that her beau Montgomery pays to her. He has a well-deserved reputation as a ladies' man and she wants to be his only lady. On a bit of a whim, they marry and settle in peaceably, for a few moments. Before long, he, almost instinctively from years of doing so, is romancing his pal Ruggles' lady friend Patrick and standing up Crawford who's staying at the country home. When she finds out about his indiscretion, she sets out to teach him a lesson by inviting Ruggles, Montgomery's former flame Osborne, Osborne's former husband Tone, her current husband Treacher and even Patrick down for the weekend! (There's also a sizable sheepdog along for the ride.) Crawford uses Tone to make Montgomery jealous while he endures the presence of the various characters she's included in the mix. Presiding over everyone is Crawford's snappy, sassy aunt Oliver who rarely let's an incident go by without some bit of commentary. Crawford looks terrific in this film, all eyes and mouth and with striking Adrien gowns (though she does sport one icky set of bangs during one sequence.) Her performance contains a range of emotions from anger to tears to sarcasm, but it's a bit heavy for something this fluffy. Montgomery is properly charming, but plays a pretty unsympathetic character. He's a wolf. Ruggles' tipsy role will appeal or repel an equal number of people depending on their taste. Tone is given little to do but look dashing in a tuxedo and provide a dot of conflict with Montgomery. Patrick gives a knowing and secure portrayal, offering some needed carnality in this era of the Hayes code, which restricted what could be said and shown. Osborne and Treacher are amusing as a newly married, yet mismatched, couple. Really, the best thing about the film is snarky, wizened Oliver, who milks her role for every drop of humor, wit and presence it is capable of providing. Also popping up for a few seconds is Fontaine as one of Montgomery's jilted girlfriends. It's an attractive film with art deco-style sets and fancy clothes, but there's nothing particularly striking or memorable about it. These types of stories have been done many times and often in a more entertaining fashion, though it's also not a bad film. Fans of the stars, especially of Oliver, should enjoy it more than others.

Though the careers of Robert Montgomery, Joan Crawford, and her husband at the time, Franchot Tone's respective careers were not hurt by films like No More Ladies, this was the kind of stuff all three of these players were looking to get out of.There was a truism at MGM back in its heyday. For films where the men wear tuxedos you first get Robert Montgomery. If he turns it down get Franchot Tone. If it's bad enough for Tone to turn it down God help him, Robert Young is stuck with it. So knowing the pecking order and knowing the billing, you can guess who Crawford winds up with.Robert Montgomery plays another of those irrepressible womanizing playboys who's sowed enough wild oats to qualify for a farm subsidy. He's decided to settle down with society girl Joan Crawford who has certain ideas about infidelity and how wrong it is. Montgomery behaves at first, but when he uses their perpetually inebriated friend Charlie Ruggles as an alibi that doesn't hold up, Crawford decides on some revenge with Franchot Tone.No More Ladies is harmless enough and when Edna May Oliver as Joan's grandmother is on the screen, always entertaining. But it was the stuff that MGM was grinding out in its dream factory. It was a case of Montgomery and Tone look great in tuxedos so cast them as urban playboys.Well, both of them did look great, Louis B. Mayer wasn't wrong about that.

One of many such comedies of the 1930s, No More Ladies focuses on the dilemma of a rich single woman (Joan Crawford) attracted to an energetic magnetic playboy (Robert Montgomery) who seems to exist without a shred of morality or self-control. What makes this film different from the typical mistaken lover comedy is the directness with which the Crawford character approaches her problems. The best part of the film, however, is Frannie, Crawford's grandmother who combines the best of Eve Arden with the best of Thelma Ritter. Also notable is Charlie Ruggles as a drunken friend of the playboy. The film's style is also worthy of attention. Reminiscent of surrealism and art nouveau the luxury sets of these characters' existence provide visual pleasure in themselves, if only in their extravagant elegance. Robert Montgomery fans will see him in his best boyish self-gratification mode, while fans of Crawford may find her a bit flat.