Pearl is a rich American who is marrying into British royalty. However, on her wedding night, she learns that her husband has no interest in her--just her money. And, he has a lover. So, instead of leaving him and asking for an annulment, she decides to dive into the decadent lifestyle of these idlers. She flaunts morality and lives for fun and her own sexual conquests. All in all, her friends are a very vacuous crowd.At first, I thought all this was quite interesting and a nice commentary about the British aristocracy. However, after a while it all began to drag because the film was so very talky and mannered. Too many people talking as if they are in an amateur acting class on 'let's do British accent day'. All in all, it became a bore and lost me. One of the worst of these silly performances was by Duchess Minnie (Violet Kemble Cooper)--and it often lacked realism. Of course, this could also be said about several others in this dull film. Yes, it has its moments--but not nearly enough to make it worth seeing--even the chance to see Ernest near the end of the film!By the way, about a decade after this film, Bennett and Gilbert Roland (who was also in this film) were married. They made two films together--both in 1933--"Our Betters" and "After Tonight".

"Our Betters" is about social climbing and what it takes to get into all the best parties - and be received" at the royal court, and be "accepted" by high-society. George Cukor did a great job of directing Sometset Maugham's play; this playwright didn't flinch at doing outrageous stories with outrageous characters. Those high-class, Brits who look down their noses at normal slobs, like we Americans are, are truly no angels ! Money and a "title" will get you lots of places.........Constantce Bennet and Anita Louise, two early-film beauties, in gorgeous gowns are a camp, but...........it takes the final scene, as everyone agrees, to make the movie a scream. I roared when I saw it. It involves a horny ole (titled) biddy being instructed in the tango by a painted queen with bitchy tones in his voice and flamboyant characteristics. TCM was doing a thing called "Screened Out", that is, gay scenes and characters the "code office" would not allow to be released to the general public. If they only had known! The "general public" knoew more about these "gays" then the office did.TCM had a gay man as co-host - I suppose he's the one who chose the several movies which had over-the-top sissies in them. If they had looked more closely for an outrageously gay actor, they'd have found the fabulous Ray (Rae) Bourbon, who could have put all the "pretending" actors they cast in their rightful places. "Rae" was a big drag-star who appeared many times with Mae West - a female drag-queen if ever there were one.....all over the world.The gay host told the truth that many gay men cringed when this character appeared, but did not mention that an actor's career usually went to the pits if they dared play anything NEAR being gay - I laughed myself silly, and gave myself a pat on the back to realize that I had helped all those over-the-top "butch" gays out of the closet. Go to a gay bar and watch all those "machos" play at being men. Watch this movie and laugh yourself to tears. We need more modern Movies like "Our Betters"......."closet" doesn't mean a thing to us........

W Somerset Maughan, the influential English writer and playwright, was a man that knew a lot about the upper crust society of England. His delightful play about rich people living privileged lives, serves as the basis of this movie that is not seen often. The film is greatly helped by the direction given by George Cukor, a man who was in his element eliciting excellent performances of his cast.Best of all is Constance Bennett, a luminous presence in the movies of those days that was at the height of her popularity when "Our Betters" was made. Ms. Bennett had a beautiful figure and she could act. In the film she plays Lady Pearl Grayston, an American living in London.The other extraordinary performance is given by Violet Kemble, who as Minnie, the Duchess of Surae, shows quite a range as the silly old woman in love with a young playboy. Ms. Kemble is enormously funny at one point, then, when she discovers her Pepi's infidelity, she is quite crossed with her hostess for taking such a step right in front of her.The others in the cast are quite good. Phoebe Foster, the gorgeous Anita Louise, Gilbert Roland, Alan Mowbray, and in an over the top performance in the last sequence by Tyrell Davis who, as a flighty Ernest, shows up made up and with all the best intentions to make the Duchess learn how to dance the tango.A delightful comedy thanks to Mr. Maughan and Mr. Cukor.

No, it's not brilliant, although it has the woman-friendly stamp of director George Cukor all over it. If for nothing else, in fact, watch it for Hattie Carnegie's exquisite gowns, worn to perfection by the exquisite Constance Bennett. But if you give it half a chance, you might find yourself quite caught up in this tale of upper-class English morality, and the success it can bring to an early-disillusioned woman. Like "What Price Hollywood?" this is a collaboration of director Cukor, writer Jane Murfin, and star Constance Bennett, and they all shine. Bennett is especially adept at conveying the brittle facade that her character has constructed to hide the pain of an empty life.The dialogue is as crisp as it gets in the 1930s. Oh, and don't miss that final line. Too fab!