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The naming of this film must have been just to attract Depression era audiences, because there is nothing really illicit about it. However, it is a very modern look at romance and marriage considering it was made in 1931. Barbara Stanwyck plays Anne Vincent, a modern woman who is afraid that her relationship with boyfriend Richard Ives will be changed by marriage. She bases her beliefs on watching her own parents and her friends. In her parents' case she says that she knows they loved each other, but divorced anyways, and she is sure that separation from one another is what killed them. However, social pressures prevail and the two do get married.

Anne's fears become realized as Richard seems to only be interested in going out when it involves other people, not just Anne. She sees him out with another woman one night when he is supposed to be working, and she decides what the two need is a trial separation from one another - to become individuals again. Throw Ricardo Cortez into the mix as someone who wants Anne's marriage to not work out, and you have the makings of an above average potboiler from the precode era.

This film is mainly interesting because of Stanwyck. Without her abilities this would be a pretty forgettable film. And those fashions! With all of the ermine and feathers, this film has Barbara Stanwyck venturing into Kay Francis territory. Also lending good support is Charles Butterworth as the seldom sober friend to the young couple, and the always wonderful Joan Blondell as Anne's close friend.

Barbara Stanwyck and James Rennie are ultra-modern 1930s lovers who shun conventional trappings such as marriage. She is afraid that marriage will kill the romance. Who has not had these fears? He is eternally patient, but his father maneuvers her into a commitment. Their marriage stumbles (whose hasn't) and the ex-girlfriend and ex-boyfriend enter the scene. Soon this thoroughly modern couple are acting like typical married folk and Barbara declares that the marriage has indeed killed the love. Stanwyck exhibits skills as an actress that will make her famous in better films later. Claude Gillingwater's portrayal of the father is excellent and serve as a good role model. Charles Butterworth (the faithful friend) was really quite a wit and succeeds in stealing a scene or two. I can overlook any technical flaws in the movie because I think that the central issues are still relevant today. Who has to compromise more in a marriage? The husband or the wife? Will each of the lovers do what is necessary to save the marriage when they know they have problems? All is not revealed until the final scene whose outcome is by no means certain. Good movie, not a great one, but good entertainment for a couple that talk to each other. I say watch it (if you can find it) and see if this pre-Code movie does not warrant your appreciation and was worth your time.

This movie creaks with age, but is memorable for being Barbara Stanwyck's first movie as a star. Miss Stanwyck gives an excellent performance, as always, but the supporting cast, particularly Charles Butterworth, steals the show as an amiable drunk whose bark is worse than his bite.

In 1931, Stanwyck was still a young girl, with her LONG hair, child-like innocent manner, and round kid face. As Anne Vincent, she wants to stay single and happy, while her beau Dick (James Rennie) wants to get married. Along for fun is Charles Butterworth as George, Dick's sidekick. He tells the couple that they have been discovered, and totters off, for more drinks... Ricardo Cortez is also here as the ex-boyfriend Baines to stir things up; Stanwyck and Cortez had worked together on three films together in the 1930s. Look for a 25 year old Joan Blondell as Helen Childers, Anne's friend, in one of her early roles. Will things stay the same if they get married? That's the big question. Kind of a statement of the times, and even more so in a couple years when the production code will keep everything on the up and up, even when they aren't. This was Darryl Zanuck's 12th film as producer. Towards the middle of the version shown on Turner Classics, there are scratches or wear marks on the right side of the screen, not surprising for such an old film. Interesting to watch, but no big surprises.

Prohibition; scorned women, that was the early 30's. This was before the "decency" rules came into effect. Avant garde is the only way to describe this. Dated, yes. But very descriptive of the times. Only Stanwyck could do this well. Her strength and sensitivity are evident in every frame. This is a history lesson of the times and traditions that existed way back when!