Private Lives

I had the pleasure several years ago of seeing Lindsay Duncan and Alan Rickman on Broadway in Noel Coward's durable comedy, "Private Lives," and they were magnificent.

I admit I had low expectations for a film version. I was pleasantly surprised that, though scenes were added and changed, the film keeps the tone of the play.

I actually saw part of this movie when I was about nine years old. James Card of the George Eastman House introduced it on a weekly old film program. To a nine-year-old, it seemed very foreign, given its age.

Strangely, I have always remembered the line, "We're married in the eyes of heaven" - from that TV showing! And sure enough, my memory was correct - that either says something about Montgomery's line reading, or that I had no understanding of what the line meant, or I have a weird memory. Not sure.

I thought the two stars, Robert Montgomery and Norma Shearer, portrayed the couple excellently. Shearer is so often criticized for her acting, but I'm sorry, I've seen her in some very good performances, although I grant you, she was a movie star first and foremost. The couple also has great chemistry.

I understand the apartment in Paris was changed to attract the German market, which eliminated the great part of the maid.

In the end, the film is very enjoyable and the play, of course, set the stage for many ripoffs. I agree with another of the comments, it would have been fabulous to have Coward and Lawrence preserved on film.

Noel Coward wrote and acted in this stage play in 1930 and this movie preserves the behaviour and colloquialisms of the original play in a contemporary manner - a fact we may overlook with our 20-21st century liberal mind-set. I believe there is film somewhere in the UK TV archives of Coward in the part but it is either just clips or not available on general release.

I really liked this well-paced production - even with the alterations for the North American audience (typical of studios in those days) - both Shearer and Montgomery take their parts well. I am familiar with the play but have never seen it on the stage. I thought the physical humour by Shearer very funny and could not imagine Noel Coward and Gertrude Lawrence as the protagonists (while wonderful with their period lethargic mannerisms) doing anything similar.

This film brings the characters brightly to life in a very warm way and it's a shame not to be able to get it on DVD.

Probably not for everyone. It's stylised but stylish. It thinks it's so frightfully amusing but actually is genuinely funny. The acting is terribly theatrical but completely engaging. It's affected and pretentious but nevertheless sophisticated and intelligent.

I watched this immediately after watching Russel Brand in the rather different GET HIM TO THE GREEK - which is hilarious. Maybe that put me in a chilled, receptive mood but I watched this smiling from beginning to end. Yes, this is obviously very different to Brand's film, it's definitely not a laugh out loud movie but I enjoyed it just as much. It exemplifies everything you expect from Noël Coward. It's witty, biting and sarcastic but also cleverly endearing.

Unlike his DESIGN FOR LIVING, which was completely changed from a stage play into a fantastic film by the great Ben Hecht, this is pure Noël Coward. Having watched a few films however actually starring Mr Coward, I'm glad he wasn't in this. He may have been watchable on the West End/Broadway in the thirties but his presence on film for a modern audience can be quite grating. Instead of him, the much more personable Robert Montgomery dons the silk dressing gown and is amusing without being irritating. It's gives us the best of both worlds - a perfect blend of theatre and cinema.

Then there's Norma Shearer. Again, she's not to everyone's taste. Her silent film gestures, her stagey delivery can sometimes feel old fashioned but in this, she displays a brilliant sense of comedy. She's a natural comedian. Some 'proper actors' seemed to forget how to act if they were in a 1930s comedy but she handles this professionally creating a likeable character you can believe is absolutely a real and authentic person. She also displays that inexplicable skill she had of making you think that despite her not being particularly beautiful, she's the sexiest most alluring woman you've ever seen in your life!

British wit Noel Coward (1899-1973) is best remembered for his wickedly funny comedies. Many, myself included, consider PRIVATE LIVES his single finest work. Opening in 1930 London co-starring Coward and the legendary Gertrude Lawrence, the play not only received tremendous critical acclaim, it also ran more than one hundred performances--something largely unheard of at the time. Moving quickly, MGM snapped up the film rights long before the original run ended and released a film version in 1931.

In the "Pre-Code" era censorship was not a significant issue, and the story follows the original stage play to the letter. After divorcing each other, Elyot and Amanda find themselves honeymooning with new spouses in adjoining hotel suites--and suddenly dessert their new spouses to resume their torrid love. Unfortunately, they both remain as eccentrically combative as ever, and it isn't long before the fur begins to fly.

The great failure of the film, however, is in the dialogue. As noted, censorship was not really an issue--but MGM advisers felt the script was too British for the American market and fiddled with the lines to make them "less English" in tone. But where a Noel Coward play is concerned, it isn't so much what you say as exactly how you say it, and in altering bits of wording the screenwriters significantly blunted the razor-like quality that made the original such a great success.

Even so, the 1931 film version of PRIVATE LIVES does a credible job of capturing the Noel Coward theatrical fire in a bottle, and the thing that makes the film work is Norma Shearer. One of the few silent stars to make a full transition to sound stardom, Shearer was among the most critically acclaimed and popular stars of her era. Although most widely acclaimed as a dramatic actress, modern viewers usually find her dramatic performances highly mannered--but what now seems mannered in drama works very, very well in comedy, and PRIVATE LIVES may be her single most accessible film for modern audiences. She is excellent throughout.

The remaining cast is a mixed bag. Robert Montgomery has the look but is essentially miscast as Elyot; still, he acquits himself well by avoiding the obvious missteps, and when he and Shearer click the whole thing goes off with a bang. Reginald Denny is quite expert as the stuffy Victor, and while Una Merkle seems as miscast as Robert Young she too renders a solid performance. Like most MGM films of the 1930s, the production values are top of the line from start to finish, slick, glossy, and attractive, and director Sidney Franklin (noted for his skill with actresses) keeps the film moving at a smart pace.

PRIVATE LIVES has had numerous revivals on stage with stars that range from Tallulah Bankhead to a memorable teaming of Elizabeth Taylor and Richard Burton, and it remains a staple of world theatre; perhaps in the future there will be yet another film version that bests this one. But even so, this 1931 film will more than do until that wished-for-one comes along. Presently available to the home market via VHS only. Recommended.

Gary F. Taylor, GFT, Amazon Reviewer

I happen to adore this movie; it's my favorite classic comedy. Surely Noel Coward and Gertrude Lawrence did a better job than Norma Shearer and Robert Montgomery, but Norma is my favorite actress, and Robert is my favorite of her many co-stars. The dialog is marvelous, and the plot is fun. I like the idea of the two exes who spend their honeymoons in adjacent suites. The fight between Norma and Robert could very well be one of the best ever filmed. This is such a fun movie, but is sadly a little forgotten. I hear that the MGM video release isn't being made anymore, so if you don't want to watch this gem on a grainy, used video, hurry to your local store and watch the clerk look at you funny when you sigh with relief over having gotten the last copy.