Amor libre

Good acting and a slightly snappy script keep your interest afloat for this light sex comedy about marriage and early woman's lib. Decadent 30's New York is the background for this I-was-checking-out-while-she-was-checking-in (thank you, Don Covay!) tale of wavering fidelity.

I saw this on TCM one day & was so delighted I actually recorded it. It is a rare gem and I found the screenplay and acting both believable and enjoyable. As many reviewers have noted, it is Pre-Code, meaning that women are allowed cleavage and men and women were portrayed in a natural way- that is sleeping in the same bed. (I actually remember asking my mom one time why Ricky Ricardo & Lucy slept in separate beds if they were married? What did they do, squeeze into that tiny bed the night Ricky, Jr. was conceived?! Preposterous! As most of the post-code was.)

But the 2 main strong points of the movie are Bette (of course) and the dialog. Bette plays Helen Bauer, a successful commercial artist and Gene Raymond plays Don Peterson, a successful advertising manager. There's a part early on in the movie when Helen & Don are discussing their relationship and it goes like this:

Don: "I'm just about fed up with sneaking in... let's get married so I'll have the right to be with you." Helen: "What do you mean 'right'? I don't like the word right." Don: "Let's not quibble about words." Helen: "No, I'm not quibbling, right means something. No one has any rights about me, except me."

And it's the WAY she says it, that means so much. She is able to say it and really mean it- without offending him.

Her character believes that women have the same rights as men. This is something I've always believed in very strongly myself, so I admit this is part of the reason the movie appeals to me so much. She also believes that she doesn't *have* to get married. And there's one part of the movie where she actually says the "dread" line, "I don't want babies." I look for the smelling salts as I write this! All kidding aside- good luck finding a female character this independent nowadays. I have to be honest- if more people thought like her, there would be less divorce. Her point is well taken- you should only really enter into marriage if you really want to. People marry for all kinds of reasons that have nothing to do with it. Helen's character even holds to her beliefs in the face of a very disapproving father. Even in the confrontation scene, she maintains her dignity and her beliefs without criticizing her parents' beliefs. There's another bit of dialog that shows how she thinks:

Gene: "You're a successful woman; I ought not to like it." Bette: "You're a pretty successful man; I ought not to like it." Gene & Bette in unison: "I'm a man!"

--- and Bette's body language says it all- she conveys the strength of will without robbing the man of his- something she has always been able to do so well and enigmatically. This also shows she's realistic- she's knows the times she lives in. And people that think that way will always be modern and contemporary. It definitely gives viewers a reason to watch something this amazing- especially considering it was made in 1933!

The rest of the cast if good and her partner in the movie played by Gene Raymond does a very nice job. They have a good chemistry on screen. As this is a pre-code movie and early Bette, I suppose those 2 reasons alone would make it worth watching- but the script and acting are also really good.

• update: I was looking at this movie today on IMDb and saw that 5 out of 10 people found my review helpful....what? did I hit a nerve with baby comment? or was it the one about only entering into marriage for love? I dunno but I thought I reviewed the movie and gave info that would help someone decide if it's the kind of movie they want to watch. Isn't that what the reviews are here for? to help?

Then I noticed ALL the reviews are like that (12 out of 24, 5 out of 10) so I guess somebody out there just doesn't like this movie. Maybe a post-code mentality?? ;)

I saw this film expecting an early Bette Davis effort of somewhat questionable value. Instead I found a highly entertaining film which made an artistic mark. The acting by Davis is, of course, always worth watching, but what really set this film apart was the script and the mise-en-scene.

The script, while not a masterpiece, is considerably above the norm. It is witty, and understanding of the desires, pride and foolishness of young, intelligent people in love. Bette plays it superbly with a slightly bored, worldly-wise exterior, and a passionate but somehow innocent interior. She is the focus of the film, the other actors being mainly satellites around her. They do a competent job, but the show is all hers.

The Deco sets were designed by someone with an obvious artistic talent and a flare for that style. Just looking at the sets and the costumes is worth the price of seeing the film. What is a real surprise is that the director used Bette as a kind of art object. The way she would pose and slouch, the style and color of her hair, the way she would hold her cigarette, her glass, the way she would arrange her body, and her expression so completely complement these lavish sets as to be a art display in themselves. This movie would be entertaining if you turned off the sound track and just watched the visuals - it is that good.

I am completely unfamiliar with the director, Robert Florey. In looking over the names of his films, none stand out for me as films of importance. Apparently he was awarded a French medal for his contributions to Cinema. If this film is any indication, and if he is truly responsible for the artistic elements in this film, then he is a very overlooked and important director.

Well, well, imagine my surprise when I saw two people in a double bed. That's right - precode, no whitewash.

Bette Davis and Gene Raymond star in "Ex-Lady," about talented illustrator Helen Bauer, a career girl with very definite ideas about marriage - she's against it. Don (Raymond) has a key to her apartment, but he finally talks her into marriage.

After a wonderful Havana honeymoon, the two return to find his ad agency, at which she now works, is in shambles. The two seem to grow unhappier until they decide it's just not working.

But while separated, he and Helen find that the emotions they thought they left behind in marriage are still very much present.

I wasn't as enthusiastic about "Ex-Lady" as some of the other posters. It's slow-moving and stagy. It's based on an unproduced play, and it's not hard to see why it wasn't produced.

Still, it's fascinating - Davis is all of about 28, tiny and pretty, and her screen persona is as yet unset. The feminist premise is very interesting, as are all of the precode elements.

Davis and Raymond display quite a bit of chemistry, and talk about not having your screen persona - Frank McHugh wanders around as if he's on another planet! There's also a rendition of a cut version of Wagner's "Dich, teure Halle" at a party.

Davis does fine in her role, but of course, this isn't the type of thing she would shine in once Warners caught on. Raymond has never impressed me much, but if Jeannette MacDonald was forced to marry him, apparently he impressed Louis B. Mayer.

All in all, "Ex-Lady" is worth seeing for early Davis and as a pre-code film, which makes some of the movie seem quite modern.

Going into Ex-Lady I really didn't expect Bette Davis to have that much chemistry with Gene Raymond, who has never been a particular favorite of mine; I always considered him too feminine a leading man, with that blonde hair and non-threatening, laid back physique. However in this film I was pleasantly surprised: I think working with dynamo Bette made Gene a much better actor. I get the feeling he really went to school watching her, and gave a performance to match. I like him a lot better here than in Red Dust, for instance.

The plot of Ex-Lady dances around a provocative subject quite deftly, with witty dialog and great pacing. Bette plays a successful commercial artist who is in love with a fellow who wants to marry her, but she is unwilling to take the plunge. She'd rather live in sin with her beloved. Even when confronted by her parents she defies tradition. However eventually she decides to marry her lover so that she doesn't lose him. The marriage has some jittery ups and downs, and in the interim we are treated to some fine character actors playing mischief makers popping in and out of the couple's life, creating mayhem.

Frank McHugh is quite funny and breezy as their ultimate matchmaker - even though he has his own secret yen for the artist, he does what he can to resolve the situation sacrificially. Monroe Owsley ("Private Number") is a leering confrontative distraction to Bette. Striking Kay Strozzi makes her play for the husband too desperately for her own good. All this makes for wonderful fun. However once again, as with most precode films, we have a traditional, conservative ending to our story. This may be realistic, it may not, to each his own. I prefer happy endings myself.

9 out of 10.