Quando le signore si incontrano

"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.

Simple story, but some of the acting is marvelous, especially Greer Garson, who literally steals the movie. It was almost embarrassing to watch Joan Crawford try to act next to her. The difference of talent between the two women is unmistakable---Garson is leagues ahead.

Robert Taylor was also excellent, playing the mischievous suitor, comically bent on winning Joan Crawford's Mary Howard. I had previously only seen him melodrama, so watching him play a comedic role was very refreshing.

The story is a bit slow, but it picks up when Crawford and Garson meet towards the end of the picture. The dialog there is smart and thought provoking, and the talent of Garson really shines through.

Not a great movie, but worth a rental to catch some good acting from two of the studio era's greatest stars.

Very seldom is the remake of a film better than the original, but this film is pleasantly one of the few exceptions. First of all, it is unknown to this reviewer why this film was remade so soon. Generally, film remakes are done after a generation of time has passed (20 years), but this film was remade just 8 years after the original in 1933. In addition, the original film cast was led by a cadre of Hall of Fame performers in their own right - Myrna Loy, Alice Brady, Frank Morgan, Ann Harding, and Robert Montgomery. You'd figure with a cast this good, how is any remake going to improve on those performances? Logical question. Yet, remarkably the five leads in this remake, pound for pound, improve on each of the original performances.

Rachel Crothers was one of the United States' best playwrights for decades. "He and She" and "When Ladies Meet" are her two best-known works. There was a good earlier version of this work; this remake has the benefit of stars of the caliber of Greer Garson as the wronged wife, Joan Crawford as the girl who wrongs her, Herbert Marshall as Garson's husband and Robert Taylor as the young man who loves Crawford. Robert Z. Leonard directed the film, with his usual skill in getting first-rate performances from his actors. The screenplay, adapted from the fine play by Anita Loos and S.K. Lauren, seldom seems as if it had been a stage work; and the scenes are opened out to include sailing and other outside scenes. The film boasts another lovely set by Cedric Gibbons, and some dense B/W style provided by the photography team. Music is by Bronislau Kaper, and in the talented cast along with the aforementioned quartet of well-cast actors the director gave us Spring Byington and several other good choices. But it is the plot in this highly-intelligent and understated contest between two women that drives every action; the theme of this important look at personal relations and the rules of commitment in partnerships is honesty--to oneself, and to one's partner. Garson thought she had a good marriage; Marshall may not have thought so, but he had no real reason to cheat, except to pretend to be Crawfor'd infallible mentor--a very unhealthy misassumption. Crawford thinks she is modern because she does not care why she is making herself momentarily happy; and Taylor loves Crawford for what she should be, not what she is. Byington, older and wiser, has taken on a 'husband' who is content to be her husband, and she has settled for his good points and agreed to put up with the rest on equal terms. The gimmick that works as a plot device here, cleverly, is that the two women in Marshall's life have never met; and when they do, Crawford still does not know who Garson is--or that she know her for what she is... In their parts, Garson is powerful, wonderfully intelligent and strong; Crawford does her best but apart from matching her charisma she cannot begin to match Garson's ethical screen presence. Robert Taylor plays his part as callow, charmingly young, and it is one of his best in energy, approach and timing. Marshall is professional in his part, but a bit old or staid to play a part that really required a Warren William or Walter Pigeon. .The lighting, the set decorations by Edwin B. Willis and the costumes are a great asset also. This is a very underrated.and intelligent look at "modern marriage", c. 1941. The upshot of the film is that Marshall realizes what he about to lose and is smart enough to try to earn Garson's love again, and that Crawford realizes what she was about to do for momentary pleasure by pretense, without even having earned it--with the possibility that Taylor may become to her what she had been fantasizing Marshall might be. This is always an interesting narrative, a very compelling mix of dramatic and character- revealing screwball satire elements. Highly recommended

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.