La vie, l'art et l'amour

...because some of the possible bawdier aspects of this situation could not be explored due to that production code. Nevertheless, the cast is really good in this one and marks Monty Woolley's first film appearance at age 49 as an art critic. Let me tell you, Wooley's screen persona in his later films would never have taken lying down the shabby treatment he got when being mistaken for a reporter like he pretty much did here.

Robert Montgomery plays a starving artist who impulsively marries heiress Rosalind Russell. He doesn't care if his art sells, but with her encouragement he becomes quite successful, and the success goes to his head. Now she must bring him back down to earth. Enjoyable comedy, good MGM production. The stars are always enjoyable to watch.

Perhaps the most disappointing aspect of it is that the comic possibilities inherent in a rich, society girl adapting to the bohemian life are left completely unexplored. Also, Robert Montgomery has the personality and manner of a banker in this one, not an artist. Roz Russell's good, as usual, and Robert Benchley, playing a mooch, is amusing. Mickey Rooney is in this for just one minute, but it's really funny, because as soon as you hear that Tarzan-yell, you know who it's gotta be! That voice is unmistakable!

"Live, Love and Learn" is a thoroughly wacky film, from start to finish. That doesn't mean it's all funny - it's just a wacky plot. The first half is all Bohemian with Robert Montgomery, Rosalind Russell and Robert Benchley setting up house together - which the first two don't mind. The last half departs from the Bohemian and seems to be a critique of the bane of the Bohemians - wealthy living and how it isn't really living. But this is a somewhat dark and meandering and much too long- lasting stretch of the film that loses the comedic touch of the first half.

Montgomery's Bob Graham is the ultra-Bohemian painter (although in his standard duds of the time, he doesn't strike one as Bohemian in dress). And, if his apartment is a bit too neat and tidy for such a lifestyle, let's just say that he is at least thoroughly Bohemian in his mind and way of thinking. Russell's Julie Stoddard immediately falls for the guy when she literally falls over a horse jump and lands in his painting setup. Benchley is his best friend, a perennial sot who comes to pass out in Bob's apartment when he's well into his cups. At least that's the message conveyed from the first and only time the film shows him that way. The rest of the time, he's the source of good barbs, jabs and witticisms. That provides most of the comedy.

It's hard to take Graham's sudden change in character once he comes into the dough. And, the film's long dwelling on him in that state is a downer. Monty Woolley has a couple of nice scenes as Mr. Bawltitude, and Mickey Rooney has a short part as Jerry Crump. Montgomery's Graham isn't very likable, and Russell gives the best performance in the film.

One can't say how many movie buffs might enjoy this film. It's borderline to think of it as being enjoyable. I stretched to give it six stars, but those are for Russell's, Benchley's and Woolley's contributions to the film.

Although Robert Montgomery and Rosalind Russell are two of my favorite performers, I couldn't accept most of what was happening onscreen. The writers tried hard to make this a zany romantic comedy, and it starts out that way, as artist Montgomery meets socialite Russell when she takes a spill while on a fox hunt, right into his easel, and faints after some exchange of words. In the very next scene they're at a justice of the peace getting married! The writers didn't believe in long (or even short) courtships. They are both penniless (Russell throws her purse out of the window of a bus to be at Montgomery's poverty level) and have to extort groceries from grocer Charles Judels, by threatening to yell from the rooftops that he overcharges his customers. So what do they do when her rich uncle sends a $2,000 check, afraid she could not cope with poverty? They frame it and use it for a dartboard. What starving artist would do that? Robert Benchley is sort of a hanger-on, seeming to live with them and drunk most of the time. He's in the film for his witty comments, but seems witless most of the time. After Montgomery's painting causes a riot by sailors and marines in Central Park, gallery owner Monty Woolley (in his first film) becomes interested in Montgomery's work and goes to see him. But the trio has been so inundated by reporters because of the riot, they think he is one of them. In perhaps the funniest scene in the film (if you can ignore its viciousness), they snip his tie, cut his suspenders and pour a pitcher of water on his head. Still, Woolley makes him famous with a special showing of his work, and Russell's friend, Helen Vinson, gets him commissions to make him rich. Russell, however, is unhappy at the change she sees in Montgomery. I winced (as did Montgomery) when she suggests at the gallery showing that they start snipping ties of the patrons. He doesn't paint anymore for pleasure, she complains, but sold out his principles for crass commercialism. She asks for a divorce and leaves him, but they are both unhappy. Well, Montgomery lived and loved, but will he ever learn that making money is not as important as doing what you enjoy most?

It is someone amusing and ironical that MGM which had for its slogan Art for Art's sake in Latin did a comedy based on just that premise. Live Love And Learn stars Robert Montgomery as the Bohemian artistic type and Rosalind Russell as the society girl who falls for him. They marry and he goes about trying to get people to notice him.

When critic Monty Woolley does notice him Montgomery and his work get taken up by the rich and famous. In the process though he loses his muse and Russell. Around to catch him is Russell's society pal Helen Vinson playing one of her patented 'other woman' roles.

A cast of familiar players step into roles like Vinson that are easily identifiable. Such wit that is in the script is provided by Robert Benchley as the hero's perpetually inebriated friend who seems to have moved right in with them.

Today Benchley's character would be treated exactly as he is, gay. A closeted gay to be sure as this was the era of the newly adapted Code in Hollywood. His character seems to have deliberately been put in the film in order that someone get to say witty things. If you've seen the film Remember? that starred Robert Taylor and Greer Garson also from MGM Lew Ayres was playing a similar role to Benchley's.

Montgomery and Russell starred in Night Must Fall which won for Montgomery critical praise and an Oscar nomination. But the public stayed away in droves. I'm guessing that Louis B. Mayer wanted to showcase his stars in more traditional roles for them when he assigned them Live Love And Learn.

Tradition was preserved.

"Live, Love and Learn" is a 1937 MGM film starring Robert Montgomery, Rosalind Russell, Robert Benchley and Monte Wooley. Surprisingly, it's not very good. Russell is an heiress who marries poor artist Montgomery, only to see him become successful and interested in money -the very thing she was trying to escape.

With better direction and a stronger script, this film might have had more of a "Holiday" feel to it, but it doesn't. It's part comedy, part drama, and because it doesn't know what it's supposed to be, neither does the audience. The two forms aren't integrated enough.

One scene that shows the innocence of the times is one in which Montgomery hires a little boy to pose for him in a loincloth. A very discomfiting scene when watched today, yet then, it was supposed to be funny. However, this is toward the end of the movie, which had dragged on too long, so the scene wasn't terribly amusing.

The acting was okay. Frankly, it's kind of a waste of time, despite the good cast.