Adapted from, and probably not that different from, a Rachel Crothers stage play of the previous season, this marital trifle wants to be a sophisticated comedy, but isn't that comedic and isn't that sophisticated. The tale of a writer (Loy) pursued by a playboy (Montgomery) but having an affair with her publisher (Morgan) in front of his wife (Harding)'s eyes, it's agreeably pre-Code in that there's much unapologetic drinking and much fairly frank discussion of adultery, but the jokes are mostly variations on somebody's-in-bed-with-somebody-they-shouldn't-be-in-bed-with, and Alice Brady, as the ditsy socialite meddling in everybody's affairs, is one-note, the same note she plied in many similar performances. We're supposed to root for Montgomery, but he's rather smirky, and Loy, while beautiful and accomplished, is a little hard to believe as having the wit and thoughtfulness to pen one bestseller after another. Harding's intelligent and feminine, as always, but she's played this part before and isn't adding anything new to it. It's stagy and static (and where, oh where, did they get the idea that that's what a Lower East Side apartment would look like?), and the ending's unsatisfyingly ambiguous--so, do they end up together or don't they? Not that one cares much.

Hey, I like both versions of this film. Not into parsing them either. The assembled talent, story, parts, clothes, set. This is the kind of movie I like to watch multiple times. First, watch the movie through. Then, maybe follow separate characters through. There's a lot going on. Then, watch the clothes. Then, check out the house, furniture, etc. There was so much style put into these. All of these elements are what made these 30's and 40's films so special. I don't understand why all the comparisons and nitpicking. This film has a lot to enjoy. It's entertainment, folks. If you don't find something so, leave it alone. Simple enough.

Why is it that, these days, the term "sophisticated comedy" is synonymous with "something that isn't at all funny?" Back in the seventies, Norman Lear made TV sitcoms more "sophisticated" by making them "socially relevant." This became all the rage. As a result, there hasn't been a genuinely funny American sitcom since Green Acres. Thank goodness for the BBC, with such gems as "Keeping Up Appearances." "When Ladies Meet" goes even beyond these doldrums, however. I can't see why it's classified as a comedy at all. While it's not a tragedy in the Greek sense, where everyone is dead by the end, it certainly deserves to be classed as a drama rather than a comedy. Sure, there are some funny lines, mostly provided by Luis Alberni and Alice Brady, but they are much more like comedy relief than any kind of main flow of the story. I wouldn't even say there was much of a happy ending, although the finish is ambiguous enough that one can easily be imagined, a very trite one, at that.Myrna Loy monopolizes the show, and handles this meaty role quite capably, although I much prefer her in comedy roles, particularly as the unparalleled Nora Charles in the "Thin Man" series (which are genuine "sophisticated comedies" by the pre-1971 meaning of the term).Frank Morgan plays his brother Ralph, staid and serious. In fact, I had to look back at the credits more than once to make sure it was indeed Frank and not Ralph. There is nothing in his performance of the bubbly, bumbling, endearing character that he has played in so many other movies, notably "The Affairs of Cellini," and, of course, "The Wizard of Oz." Robert Montgomery plays a conservative, stuffy "Family Values" type, once again quite out of character for the sprightly devil-may-care youthful adventurer that he has played so often in film. In fact, I found his stodginess to be quite at odds with his young age, and rather unbelievable. He plays a typical hypocrite who sees nothing the least bit wrong with men having multiple extra-marital affairs, but feels it is absolute anathema for a woman to even contemplate doing so. His character is abrasive and unpleasant throughout. He is thoroughly detestable.The story is perhaps sophisticated for its time, but is barely so today. While these issues must still exist in our modern world, it is hard for me to believe that they would be handled with the same Biblical, Victorian attitudes that calcify the plot and especially the dialog in this movie. At least, one would hope not.An interesting story, well developed, well acted, with almost no surprises. And definitely not a comedy, by the definition "something that will make you laugh."

What a thought provoking and stimulating movie. One begins to sense what was lost due restriction of the Hays Commission. The svelte Ann Harding steels the show. She literally makes you fall in love with her character. Frank Morgan's role was very different from those that he later played. The sincere caring that the two female characters had for one another shows a sophistication that is as entrancing as it is admirable.