La moglie bella

Frumpy housewife Katherine Brown (Norma Shearer) adores her husband Bob (Rod La Rocque). Her every action is dedicated to his comfort. Unfortunately, his roving eyes find other women and in heartbreak, Katherine divorces him. Years later, the two meet again, this time under very different circumstances. Katherine has become a beautiful and charming woman of the world. She is invited to a small party by an eccentric friend (Marie Dressler) to lure Bob away from his latest conquest, the engaged young Diane (Sally Eilers). En route to seducing Bob, Katherine also catches the eyes of all of the men at the party.

Also appearing are Hedda Hopper as the beautiful Madge Livingston and Dickie Moore as Katherine's young son.

This film suffers a bit from early talkie syndrome. The editing is not as slick as it could be, with moments of complete silence and shots with no people in the frame. Sometimes the scenes are confined to one room with very little editing between people. The story is also quite old fashioned, especially the abrupt ending which does not comply with the rest of the film. However, it is worth watching especially for Shearer fans. It is fascinating to see such a startling transformation from an overweight housewife to a gorgeous and elegant woman.

When a dowdy wife (Shearer) loses her husband, she decides to completely make herself over to win him back. Not "politically correct" by today's standards, but still fun to watch, especially the scenes with Marie Dressler and Hedda Hopper.

Norma Shearer dazzles as she is transformed from a frump, addle-brained house-wife to an alluring potential divorcee. Most 1930 films have a creaky edge to them -- the camera work is pretty sluggish at times -- but we must forgive these all-talking pleasures for their thump-a-long "qualities". As a guest of the eccentric globe-trotting Marie Dressler -- Shearer mixes with an odd assortment of lovelorn types, including her long-lost husband. The dialogue is fun, oft-times clever and the performances on cue. Shearer and Dressler shine the most. Shearer even shows off her piano expertise in a musical brevity. Her strange, yet appealing posturing and "affair with the camera" are evident throughout -- and she hits every emotional note, genuinely and on target. For its time . . .a good show.

I happened to channel surf to Turner Classic Movies just as this one was beginning last night, and once I got past the unlikely opening sequence I couldn't possibly turn away from the unlikely rest of it. It's a romantic comedy with Norma Shearer and a supporting cast that includes a lovely Hedda Hopper and a formidable Marie Dressler. As these things go -- silly rich people playing out a ridiculous "who'll pair up with whom?" plot in a Long Island mansion -- it's amusing and pretty good fun. I guess it's not a movie to recommend per se, but I have to admit I was in the mood to enjoy it last night, especially Marie Dressler's overacting. So if you stumble across it as I did, sure, go ahead, stick around. You won't believe your eyes.

... because this is some bold fashion statement she is making here, four years before Bette Davis dared to look repulsive in "Of Human Bondage".

Kitty (Norma Shearer) is a somewhat overweight frumpy housefrau, devoted to her husband and kids. The husband, Bob (Rod La Roque), is kind to Kitty, but his passion belongs to his mistress. The mistress is getting tired of hiding matters, so she barges into the house and frankly tells Kitty what's been going on between the two of them. Kitty acts sophisticated and says she knows all about it, but deep down she is heartbroken. Bob asks for forgiveness and a second chance, but she flatly refuses.

Fast forward three years and socialite Mrs. Bouccicault (Marie Dressler) is entertaining at her Long Island estate. She's invited her good friend Kitty to come for the weekend and steal Bob away from her granddaughter, Diane (Sally Eiler), who is about to be married to someone closer to her own age and range of experience. Mrs. B has no idea that Kitty was ever married to Bob, so this is just a big coincidence. Kitty is now thin, fashionable, and confident and has no idea that she is supposed to be vamping her ex husband. Just how this transformation to head turner happened is never mentioned. For that matter, neither are her children! Well, they are alluded to from time to time, but they apparently are stashed somewhere that they cannot interfere with the jet setting of their parents before there was any such thing as jets.

When Kitty and Bob finally meet, they are genuinely surprised to see each other and sparks begin to fly. In Bob's case that means romance is on his mind, but in Kitty's case those sparks could mean she is considering burning him at the stake. How does this turn out? Watch and find out.

I don't know who cast the men in this film, but they are ponderous choices. Collectively they have the romantic appeal of the Pillsbury Doughboy without his flair for conversation and comedy. I will give it a small break because this was the first full year MGM was involved in talking film. The first act with Kitty as a frump and the last act are compelling, but it sags pretty badly in the middle and is mainly saved by Marie Dressler's performance as the eccentric socialite Mrs. B. Dressler steals the show in just about every scene she appears, as was often the case.