De mujer a mujer

We meet the very successful novelist Mary Howard (Joan Crawford) at a party for the launch of her new book. The party is hosted by her good friend, the much older, wealthy dingbat "Bridgie" Drake in her lovely apartment in New York City. Mary's long-time boyfriend is there too. Jimmy Lee (Robert Taylor) is a journalist and he proposes to Mary there at the party but she blows him off. It becomes clear that her romantic interests have shifted to her publisher, the much older, much less fun (and less attractive) Rogers Woodruf (Herbert Marshall).

There's just one problem ... he's married to Claire (Greer Garson).

Mary's follow-up project is a book called "Gods of Destiny." It's about a woman who falls in love with a married man; and Mary is struggling with the ending. She's desperately trying to make "The Other Woman" into some noble heroine, and she can't get it quite right. Bridgie invites her up to her country estate for the weekend to work on the ending and Mary gets her to invite Rogers as well.

Jimmy gets wind of this; and arranges a way to "drop in" on Bridgie with Claire that weekend after he's found a sneaky way to get Rogers out of the house for a bit.

So, what happens when the ladies meet?

Well, the moment Mary sees Claire across the room she spits her gum out, shakes her shoes off, and hands her earrings to Bridgie - "Hold my gold!" She snatches Claire by the hair and dogwalks her out to the patio where she holds a bottle of champagne by the neck and breaks it over Claire's head, but before she can do any damage to her face Claire pulls a switchblade out of her sock and .....

Wait a minute. No. That's not quite right. Hold on.

It's actually quite civilized. They talk about the situation and about the concept of Love and blah blah blah, and I'm sure you can guess how it all plays out.

Joan is alright here, and Greer is wonderful, but I found the dingbat Bridgie (Spring Byington) and her younger witless and gay gold-digging boyfriend the most entertaining.

Sure, I'd recommend it!

Two MGM divas get to have at one another in a most civilized, clipped-consonant fashion in this remake of a livelier 1933 comedy-drama, adapted from a hit Rachel Crothers play. Joan Crawford is a best-selling authoress on the brink of an affair with her publisher, Herbert Marshall, who is married to Greer Garson; meantime, Robert Taylor pines, rather inexplicably, after Crawford. I'm sure Joan was an intelligent woman, but playing a New York smart-set intellectual (with a downtown apartment whose garden is the size of a city block), she's unable to project intelligence; you simply can't believe this clothes horse could come up with the smart one-liners Anita Loos puts into her mouth, or that she could pen anything more complex than "The Little Engine That Could." You sense that MGM is building up Greer as it tears down Joan; it's a much more sympathetic part, and though Greer doesn't enter the film till nearly the second half, she dominates it from there on. I find Greer's charms calculated and her acting style obvious, but she has the audience on her side and is more interesting to watch than the ever key-light-seeking Crawford. Why either should pine after the doughy, monotonous Marshall is never clear, and the fadeout is so plainly headed toward a conventional-morality-circa-1941 ending that the drama never runs very high. (For all that, it's resolved quickly and capriciously, and unconvincingly.) But Robert Taylor, at least, is relaxed and unaffected (especially compared to this diphthong-happy trio), and Spring Byington expertly indulges in a ditsy-rich-lady characterization you'd more likely expect from Billie Burke or Alice Brady (who, in fact, played the role in the 1933 version). The real star is the set designer -- I don't know about you, but I want that weekend house of Byington's, with its water wheel and clear lake and Better Homes and Gardens design.

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 simultaneously. 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.

In both versions, the lady of the country house is something of a wonder - Spring Byington here. I like the Jimmy part a lot, and thought both actors did him well. He's the kind of guy who makes a wonderful friend, though he could get on your nerves at times. He's a young man who will settle down and make a good husband, reliable and good company along the way. Woodruff was an older man who hadn't settled down, self-centered, made a bad husband and rather a dullard actually.

I think the sorting out between the women worked for both of them. The wife shook off the dead weight or drew her line anyway; the "girl friend" woke up from her naive daydream. We hope the husband woke up as well. Looks like Jimmy has a chance to come out on top as well!

What's there to be so cynical about?

"When Ladies Meet" stars Joan Crawford, Greer Garson, Robert Taylor, Herbert Marshall, and Spring Byington.

It's a talky film obviously based on a play that starts out somewhat typically: A woman falls for a married man, but her boyfriend still loves her. The film turns to something else altogether "when ladies meet," i.e., the other woman and the wife.

Greer Garson is the wife, married to Herbert Marshall, who plays Crawford's publisher, Rogers Woodruff, Crawford is Mary, the author/other woman, Taylor is the boyfriend, Jimmy, and Spring Byington is Bridget, a friend, in whose country house the big confrontations take place.

Like Norma Shearer's vehicle, "Her Cardboard Lover," a year later, this film looks and plays like a '30s leftover. Everyone is very good, and if Robert Taylor's broader attempts at comedy are a little forced, his physical comedy is quite funny, the scene in the boat being one of the best.

Unlike his 20th Century Fox counterpart, Tyrone Power, Taylor was uncomplicated and not very ambitious. Devastatingly handsome, he was content at MGM for over 20 years - his big complaint once he was out of there was that he didn't know how to make dinner reservations.

MGM would force Crawford out with bombs such as "Under Suspicion" two years later, but here, she gets top billing and does a good job as a woman who still has her romantic illusions.

While Crawford and Taylor have comic moments, Herbert Marshall's role has none - he's deadly serious and oh, so sincere as he breathes his love for Mary.

But the show belongs to Greer Garson,. She has the best and the most sympathetic role as a woman who, despite numerous affairs, has loved and clung to her man.

This and the constant talking make the movie somewhat dated - what woman would put up with such a serial philanderer after all (or, rather, admit to it) - but her character is extremely likable, her words heartfelt, her pain palpable, and she's stunning to look at as well.

Definitely worth seeing for the wonderful stars but not up to the usual quality of films these actors did.

MGM was obviously going through a transition and recycling old material when the '40s hit. I think the 1933 version of this was probably superior if only due to it being more of its time.

...but perhaps I don't know a lot of true ladies. I'm more shocked that Joan Crawford got top billing in this delightful little farce. Greer Garson stole the show and Robert Taylor's role was dashing and quite likeable. Spring Byington played the perfect hostess for the weekend "Dish of the Dames". The truly unbelievable thing was the casting of Herbert Marshall as Rogers Woodruff. Hard to imagine one woman, let alone two having such rapturous feelings for that character. Perhaps there's the reality in this story. After all, these things are rarely understood. I found, in this case, "When Ladies Meet", to be quite entertaining and being a die-hard Greer Garson fan, I highly recommend it!!