This film has a wonderful cast and they all perform admirably. George Cukor directs and brings all of the best production values with him--sets, music, costumes, etc. But this film is a mess.
You can blame the script--with a plot that makes the characters behave as if they are making choices based on the throw of dice.
Joan Crawford plays Susan, the wandering wife who proclaims a new-found love for a newly-configured God. It's a perfect role for her: melodramatic, passive/aggressive, and full of herself. She spouts mumbo jumbo and calls it inspired.
Fredric March plays her husband, Barrie--a drunk who probably owes his failures to his wacky wife. He continually strives to repair their marriage, especially when he realizes their daughter is unhappy and neglected.
The plot jumps from one setting to another, leaving some characters behind, interjecting others for brief scenes, expecting others to morph into illogical versions of themselves. The score is professional, but it follows the erratic story. A swinging jazz number plays over the opening credits, to give one example of misleading musical cues.
In the end, the film delivers a mix of contradictory messages and morals in its attempt to conform to contemporary conventions.
You can blame the script--with a plot that makes the characters behave as if they are making choices based on the throw of dice.
Joan Crawford plays Susan, the wandering wife who proclaims a new-found love for a newly-configured God. It's a perfect role for her: melodramatic, passive/aggressive, and full of herself. She spouts mumbo jumbo and calls it inspired.
Fredric March plays her husband, Barrie--a drunk who probably owes his failures to his wacky wife. He continually strives to repair their marriage, especially when he realizes their daughter is unhappy and neglected.
The plot jumps from one setting to another, leaving some characters behind, interjecting others for brief scenes, expecting others to morph into illogical versions of themselves. The score is professional, but it follows the erratic story. A swinging jazz number plays over the opening credits, to give one example of misleading musical cues.
In the end, the film delivers a mix of contradictory messages and morals in its attempt to conform to contemporary conventions.