1st watched 12/7/2004 - 7 out of 10(Dir- Edward H. Griffith): Surprisingly honest and frank drama about a man who can't decide between two women in his life. One, ties him down to a commitment and is a solid person and the other doesn't ask for a commitment and is a great friend but doesn't have the stability of the first. I never did figure out why the movie was called "Animal Kingdom", but I believe it has to do with how we as humans tend to become survivalists like those in the animal kingdom do when things aren't going well. This is one of the most complex character studies that I've seen in awhile especially from a movie made so long ago. The acting is kind of up-and-down but the story is consistently intriguing as we try to figure out what Tom(the book publisher) is going to do in his life from one moment to the next. Every character in this story is interesting in one way or another and the movie works hard to follow these characters and not just make a happy-go-lucky movie experience. There is a uniqueness in this film's open attitude towards love and friendship and how to piece them together that I have not seen often.
39 Reviews
Good pre-code
blanche-210 April 2009
Leslie Howard, Ann Harding, and Myrna Loy are all members of "The Animal Kingdom" in this 1932 film based on the play by Phillip Barry. Barry in his way was a transitional playwright - he wrote about the upper class, usually negatively, but always gave a nod to the lower class - they were the ones that had more fun. Just a little bit later, plays about the upper class would go by the wayside for plays about the working class - Waiting for Lefty, Awake and Sing - as America moved through the depression.
Leslie Howard plays a member of said upper class who has engaged in a Bohemian lifestyle, living with an intelligent artist (Harding). They have a no attachment, open relationship, and he takes her at her word and gets himself engaged to a gorgeous, wealthy young woman (Myrna Loy) just as Harding decides she wants to settle down and have a family. She accepts his decision, but not his offer of continuing friendship.
There is a line about the "animal kingdom" in the film, but I prefer to think the title has to do with baser instincts. If Howard passionately desired Ann Harding, he wouldn't have wanted to be friends - and it's her desire of him that makes her reject his "just friends" suggestion. Let's face facts - Loy turns him on and knows it. In fact, she uses sex as a manipulative weapon, and he's putty in her hands. It's more blatant in this film than, say, "Harriet Craig" which was done under the code - but the power of sex is there.
Of course, a relationship based on sexual desire and nothing else eventually grows tired, and Howard finds himself going back to talk with Harding and spend time with her. She smartly keeps running. Clearly, Howard is a man who wants to have his cake and eat it, too.
Harding was an interesting leading woman - she was attractive but not beautiful and had a very low, distinctive speaking voice. She came from the Broadway stage, and her heyday in films was through the mid-thirties, though she worked consistently in films and television until the mid-60s. As was the case back then, at 31 years of age, her time as a leading lady was drawing to a close, and soon would be turned over to people like the younger Loy. Her performance in "The Animal Kingdom" is a very honest one. Loy is absolutely ravishing and wears beautiful clothes. She essays the part of the glamorous wife beautifully, reminiscent of Gene Tierney later on with the ultra-feminine facade hiding the steel underneath. Howard is handsome and thoughtful in the lead, and one can see it slowly occurring to him that he made a mistake.
Very good.
Leslie Howard plays a member of said upper class who has engaged in a Bohemian lifestyle, living with an intelligent artist (Harding). They have a no attachment, open relationship, and he takes her at her word and gets himself engaged to a gorgeous, wealthy young woman (Myrna Loy) just as Harding decides she wants to settle down and have a family. She accepts his decision, but not his offer of continuing friendship.
There is a line about the "animal kingdom" in the film, but I prefer to think the title has to do with baser instincts. If Howard passionately desired Ann Harding, he wouldn't have wanted to be friends - and it's her desire of him that makes her reject his "just friends" suggestion. Let's face facts - Loy turns him on and knows it. In fact, she uses sex as a manipulative weapon, and he's putty in her hands. It's more blatant in this film than, say, "Harriet Craig" which was done under the code - but the power of sex is there.
Of course, a relationship based on sexual desire and nothing else eventually grows tired, and Howard finds himself going back to talk with Harding and spend time with her. She smartly keeps running. Clearly, Howard is a man who wants to have his cake and eat it, too.
Harding was an interesting leading woman - she was attractive but not beautiful and had a very low, distinctive speaking voice. She came from the Broadway stage, and her heyday in films was through the mid-thirties, though she worked consistently in films and television until the mid-60s. As was the case back then, at 31 years of age, her time as a leading lady was drawing to a close, and soon would be turned over to people like the younger Loy. Her performance in "The Animal Kingdom" is a very honest one. Loy is absolutely ravishing and wears beautiful clothes. She essays the part of the glamorous wife beautifully, reminiscent of Gene Tierney later on with the ultra-feminine facade hiding the steel underneath. Howard is handsome and thoughtful in the lead, and one can see it slowly occurring to him that he made a mistake.
Very good.
Two Loves Have I
ilprofessore-119 July 2019
One of the great pleasures of being able to see these talky pre-Code films so many years after the fact is that they offer us a photographic record of what the stylized Broadway theater of the Twenties and Thirties was like--lots of witty and heart-felt dialogue as beautiful people move from chair to sofa, drink champagne and cocktails, and occasionally lean against a mantel piece to say something profound or moving. No one back in the Thirties seemed to find it odd then that two of the principle characters, father and son, upper-class American inhabitants of Connecticut, were played by Englishmen-- Henry Stephenson and Leslie Howard. It was an accepted convention that all people with money sounded English. In this story, Howard, the charming but weak idealist he was to play again and again, is torn between his love of two stronger women: Ann Harding, the bohemian painter, and Myrna Loy, the ambitious society bride. Harding chooses to plays the role correctly (in my opinion) as more of a Vassar girl dilettante, the sort that Mary McCarthy was to satirize, than a starving Greenwich Village bohemian, and Myrna Loy is the beautiful but manipulative rich girl out to trap her man into living a secure and comfortable life. The vastly underrated Phillip Barry, whose play this film adapted, was an excellent chronicler of upper middle-class American life as in was once lived in the Depression. He has a great deal of empathy for his characters and enormous skill as a dramatist. His greatest triumph was to be a vehicle Kate Hepburn commissioned a few years later, The Philadelphia Story, but this earlier play introduces many of the social themes he was to write about in all his plays. As always, Barry wrote demanding parts for women. Myrna Loy (who was soon to be Nora in the Thin Man series) never again had a role that demanded so much of her. She is absolutely perfect. The film produced by David Selznick was an enormous flop in its day, but it's wonderful to have it around now.
The Privileged Class Enjoying It's Privileges
bkoganbing24 October 2005
That was a line from another Philip Barry play which had a bit more screen popularity than The Animal Kingdom. Philip Barry as a playwright was able to find an audience in two distinct eras of American history, the carefree Roaring Twenties and the poorer socially significant Thirties. He did with a clever mixture of social commentary while writing about the privileged classes enjoying their privileges.
The Animal Kingdom had a 183 performance run on Broadway the previous year and its star Leslie Howard was a movie name already on two continents. So Howard, Bill Gargan, and Ilka Chase repeat their Broadway roles here. Good thing for Howard, he got to do this screen version of one of his Broadway triumphs. Probably in a few more years Cary Grant might have gotten the call.
Howard is a rich young man rather bored with his life and living without benefit of clergy with bohemian artist Ann Harding. But family pressures force him to marry society girl Myrna Loy. Guess who in the end he winds up with or watch the film to find out.
A lot of similarities here with Holiday, a Barry play that got a more well known screen adaption. An overbearing parent, snobbish friends/ relatives and two women to choose from, and some down to earth friends for the hero.
The players do well here and a special note should be made of Bill Gargan who plays Howard's butler who is a washed up former prizefighter. The Animal Kingdom was Gargan's feature film debut and I wouldn't be surprised if Leslie Howard did the same service for him as he did for Humphrey Bogart in The Petrified Forest.
The Animal Kingdom despite good notices failed to find an audience in Herbert Hoover America. Howard's problems do seem trivial in the face of what a lot of people were dealing with. Still it's a good and faithful adaption of a good play.
The Animal Kingdom had a 183 performance run on Broadway the previous year and its star Leslie Howard was a movie name already on two continents. So Howard, Bill Gargan, and Ilka Chase repeat their Broadway roles here. Good thing for Howard, he got to do this screen version of one of his Broadway triumphs. Probably in a few more years Cary Grant might have gotten the call.
Howard is a rich young man rather bored with his life and living without benefit of clergy with bohemian artist Ann Harding. But family pressures force him to marry society girl Myrna Loy. Guess who in the end he winds up with or watch the film to find out.
A lot of similarities here with Holiday, a Barry play that got a more well known screen adaption. An overbearing parent, snobbish friends/ relatives and two women to choose from, and some down to earth friends for the hero.
The players do well here and a special note should be made of Bill Gargan who plays Howard's butler who is a washed up former prizefighter. The Animal Kingdom was Gargan's feature film debut and I wouldn't be surprised if Leslie Howard did the same service for him as he did for Humphrey Bogart in The Petrified Forest.
The Animal Kingdom despite good notices failed to find an audience in Herbert Hoover America. Howard's problems do seem trivial in the face of what a lot of people were dealing with. Still it's a good and faithful adaption of a good play.
A sparkling black and white film for those who love a good story contrasting the love of art and life with the love of convention.
CottonHills5 January 2002
A film examining character and intelligence, motives and integrity, the artist's life versus the conventional life. It is a love story which depicts love and friendship on many levels. This film is one of those interesting ones where the viewer has to be able to listen to dialogue and interpret meaning. There are subtle interactions between the characters and a civilized, low-key ambiance.
The Woman in His House Was Not His Wife
sharlyfarley1 October 2008
Warning: Spoilers
No doubt about it, Loy commands the screen here, and is worth watching all the way through. Agreed, Ann Harding is stodgy and overdressed for her supposedly Bohemian lifestyle, but she does reflect the earnest sincerity of the Conscious Rebel. The original title "The Woman in His House," suited the story better... Define 'wife', for example. Tom Collier (Leslie Howard) is a man enthralled by a young beauty, and her hold on him is frankly sexual. His previous relationship with artist Daisy (Harding) certainly included sex, but was also built on warm friendship, mutual friends, shared values. They prided themselves on lack of "chains" which later turns into a lack of commitment. Long familiarity had cooled things off enough for Daisy to take an extended trip to Europe. While Daisy was off in Europe working on her art, Tom was at loose ends; his rich father thoroughly disapproved of him because he didn't make enough money. Tom's cozy house full of books looked great to me, but Daddy thought he needed a mansion. Tom had noted there was a depression on, and hired a washed up boxer as a butler so the man wouldn't starve. He appreciates Red Regan (Gargan) for his good humor and warm friendship. Tom loves a beautifully crafted book, and putting them together is his art. As Cecelia (Loy) draws him away from his other sources of joy, he finds pleasure isn't enough to fill the gap left by Daisy's departure, along with all his friends. He's continually pressured to sell his publishing house to the equivalent of Silhouette Romances, and that breaks the spell. The climax - and it does take awhile to get there - is Tom watching Loy display all her wiles while he keeps refilling her champagne glass, and you can see him think about that word "wife." And he's not confused any more. The acting in the last scene between these two is masterly, and well worth the wait.
very raw
midnitecoaster28 April 2002
very good movie that the censors couldn't destroy. amazing for it's blatantly adult themes in 1932. the story hasn't aged one bit. lesile howard is brilliant in his role. i saw this on tv one night and searched for half a year to figure out what it was called. fantastic.
The other woman gets top billing.....
mark.waltz24 July 2012
Warning: Spoilers
Philip Barry wrote many "smart" comedies of drawing room manners, champagne, martinis and sophisticated marital discord. This is the story of a Bohemian young man (Leslie Howard) who gives up his artist lover (Ann Harding) to marry into society. The wife to be is Myrna Loy, playing a manipulative, calculating passive/aggressive socialite who seems easy going at first. Indeed, she likes the buffoonish butler (William Gargan) at first but once married to Howard demands he be fired for constant drunkenness. In contrast, Harding isn't instantly likable, spewing subtle frustration when Howard ends things with her; He simply leaves her apartment while she continues to talk to the air. But in time, Howard misses his old life, beginning to see Loy for who she really is and starts to see Harding again socially.
Loy doesn't play a totally one dimensional bitch; She has lady-like moments of kindness but like real people, switches back and forth naturally depending on the circumstances. Harding, "Queen of the Bun", is a husky voiced pre-code star who was sometimes confused with Irene Dunne, RKO's other major star of classy women's pictures. Harding's career in Hollywood had a brief hiatus in the late 30's, and when she returned, it was in character roles that made people forget she was once a major star. Gargan is very funny as the butler whom nobody will ever confuse with Arthur Treacher. The movie gets a little stagy in spots, but is never sleep-inducing. Howard is very good and sexy, a far cry from many of the other British leading men (such as Clive Brook) who were mostly too stiff upper lipped and overly dull. While not as remembered as "Holiday" or "The Philadelphia Story" (Barry's other plays successfully adapted for the screen), "The Animal Kingdom" is a pleasant marital drama with fine performances and amusing moments.
Loy doesn't play a totally one dimensional bitch; She has lady-like moments of kindness but like real people, switches back and forth naturally depending on the circumstances. Harding, "Queen of the Bun", is a husky voiced pre-code star who was sometimes confused with Irene Dunne, RKO's other major star of classy women's pictures. Harding's career in Hollywood had a brief hiatus in the late 30's, and when she returned, it was in character roles that made people forget she was once a major star. Gargan is very funny as the butler whom nobody will ever confuse with Arthur Treacher. The movie gets a little stagy in spots, but is never sleep-inducing. Howard is very good and sexy, a far cry from many of the other British leading men (such as Clive Brook) who were mostly too stiff upper lipped and overly dull. While not as remembered as "Holiday" or "The Philadelphia Story" (Barry's other plays successfully adapted for the screen), "The Animal Kingdom" is a pleasant marital drama with fine performances and amusing moments.
Good Mistress Verses Bad Wife
kidboots4 March 2009
Warning: Spoilers
The unusual theme for this very intelligent and enjoyable film has the decent self sacrificing mistress (Ann Harding) pitted against the merciless, social climbing wife (Myrna Loy).
In 1932 Ann Harding was at the peak of her career and this film has become her most popular. She was the epitome of style and class, with her silvery long blonde hair (done in a bun on the nape of her neck), natural beauty and low husky voice. She was a very unconventional beauty for the period. She was also RKO's most prestigious star - until Constance Bennett came along with a more down to earth appeal. So fans, going to see her in "The Animal Kingdom" knew exactly what to expect. Myrna Loy, also had not found her "Nora Charles" persona and was still being given roles that required her to be anything but nice. Karen Morley was producer Selznicks' first choice for Cecilia but Leslie Howard demanded Myrna Loy.
After Tom's father (Henry Stephenson) finishes bemoaning the fact that Tom (Leslie Howard) has wasted his life, Cecilia (Myrna Loy, looking completely ravishing) confesses that she is going to marry Tom. Tom is in an "unconventional relationship" with Daisy Sage (Ann Harding), a free spirited artist, and the night of his engagement, he feels he must tell her. Daisy also has some news - she feels she has real talent as an artist, and she wants to marry Tom so she can have children!!! Once she realises Tom is about to marry Cecilia she finds she cannot continue their old relationship.
Once they are married Cecilia tries desperately to mold Tom to fit in with her circle of boring friends. She convinces him to publish a potboiler, a book Tom is ashamed of - but it becomes a best seller among her friends. She then convinces him to fire Regan (William Gargan is just stunning in the role he originated on stage). Regan is an old friend of Tom's, an ex prize fighter who Tom keeps on as a butler. He is very funny - he gets drunk and mingles with the guests, much to Cecilia's disgust.
The dialogue is pretty racy - "a foolish virgin me - well foolish anyway" says Daisy, when she learns of Tom's engagement. Rather than resume their old relationship Daisy flees to Canada. When she returns Cecilia rings her to invite her to a surprise party. Cecilia feels that by getting all his old friends together Tom will realise what a lot of riff raff they are. The party is not a success - Daisy spends her time reading a new novel that Tom is due to publish and realises how low he has fallen. Behind his back Cecilia convinces Owen (Neil Hamilton), an old flame and also a successful publisher to buy Tom out and take over the Bantam press. Daisy overhears and also sees Cecilia's behaviour towards Owen and realises that Cecilia is not good enough for Tom and is also the cause of his loss of high ideals and integrity.
Cecilia believes that Tom has excepted a huge cheque from his father and shows herself as she really is. Tom is surprised at how much the room she has decorated resembles a London brothel he had visited. Even though it is only suggested, it is pretty racy dialogue even for pre- code times. He then realises that she is acting like a high class prostitute - promising him privileges that she had been withholding (the locked bedroom door, his desire for children etc) because of the money she thinks will be hers.
I thought it was a super film, quite shocking in it's suggestions, even for the time. The ending was also in keeping with the pre-code code and I can heartily recommend this entertaining and intelligent movie.
Highly Recommended.
In 1932 Ann Harding was at the peak of her career and this film has become her most popular. She was the epitome of style and class, with her silvery long blonde hair (done in a bun on the nape of her neck), natural beauty and low husky voice. She was a very unconventional beauty for the period. She was also RKO's most prestigious star - until Constance Bennett came along with a more down to earth appeal. So fans, going to see her in "The Animal Kingdom" knew exactly what to expect. Myrna Loy, also had not found her "Nora Charles" persona and was still being given roles that required her to be anything but nice. Karen Morley was producer Selznicks' first choice for Cecilia but Leslie Howard demanded Myrna Loy.
After Tom's father (Henry Stephenson) finishes bemoaning the fact that Tom (Leslie Howard) has wasted his life, Cecilia (Myrna Loy, looking completely ravishing) confesses that she is going to marry Tom. Tom is in an "unconventional relationship" with Daisy Sage (Ann Harding), a free spirited artist, and the night of his engagement, he feels he must tell her. Daisy also has some news - she feels she has real talent as an artist, and she wants to marry Tom so she can have children!!! Once she realises Tom is about to marry Cecilia she finds she cannot continue their old relationship.
Once they are married Cecilia tries desperately to mold Tom to fit in with her circle of boring friends. She convinces him to publish a potboiler, a book Tom is ashamed of - but it becomes a best seller among her friends. She then convinces him to fire Regan (William Gargan is just stunning in the role he originated on stage). Regan is an old friend of Tom's, an ex prize fighter who Tom keeps on as a butler. He is very funny - he gets drunk and mingles with the guests, much to Cecilia's disgust.
The dialogue is pretty racy - "a foolish virgin me - well foolish anyway" says Daisy, when she learns of Tom's engagement. Rather than resume their old relationship Daisy flees to Canada. When she returns Cecilia rings her to invite her to a surprise party. Cecilia feels that by getting all his old friends together Tom will realise what a lot of riff raff they are. The party is not a success - Daisy spends her time reading a new novel that Tom is due to publish and realises how low he has fallen. Behind his back Cecilia convinces Owen (Neil Hamilton), an old flame and also a successful publisher to buy Tom out and take over the Bantam press. Daisy overhears and also sees Cecilia's behaviour towards Owen and realises that Cecilia is not good enough for Tom and is also the cause of his loss of high ideals and integrity.
Cecilia believes that Tom has excepted a huge cheque from his father and shows herself as she really is. Tom is surprised at how much the room she has decorated resembles a London brothel he had visited. Even though it is only suggested, it is pretty racy dialogue even for pre- code times. He then realises that she is acting like a high class prostitute - promising him privileges that she had been withholding (the locked bedroom door, his desire for children etc) because of the money she thinks will be hers.
I thought it was a super film, quite shocking in it's suggestions, even for the time. The ending was also in keeping with the pre-code code and I can heartily recommend this entertaining and intelligent movie.
Highly Recommended.
Surprisingly shocking fare that's worth seeing if you are a very patient person
planktonrules2 October 2006
Warning: Spoilers
This is one of the "talky-est" movies I've seen in some time and often the dialog is very stilted and even occasionally silly. Yet despite this, the film is actually very shocking and "modern" in its sensibilities and pretty entertaining--if the dialog and pacing don't drive you to turn it off before it's over! And for adults who are VERY patient, it is a film worth seeing (perhaps deserving a score of 7 depending on the audience).
Leslie Howard plays a pretty wussy guy who has definitely had lived the "Bohemian lifestyle". However, by the time the movie starts, he's ready to give up his wild and fornicatious (is that a word?) past and marry Myrna Loy. It seems that although he's loved another (in more ways than one), this other woman (played by Ann Harding) wasn't the marrying kind and so he set his sights on Loy. However, once he announced his engagement, Harding suddenly has a change of heart and wants to legitimize her sordid relationship with Howard--but unfortunately, her change of heart comes too late. Howard, quite the idiot, thinks he can maintain a strong friendship with Harding WHILE STILL MARRIED TO LOY! Everyone but Howard realizes this can't happen and so naturally over time they drift apart.
A bit of time passes, and slowly but surely you come to see Loy as an incredibly manipulative and controlling woman. but Howard is slow to accept this. And, at the same time, Howard becomes more and more the "whipped dog". This presents an interesting moral dilemma, as although he and Harding had obviously been a lot more than just friends in the past, at least they loved each other. With Loy, there is absolutely no love--just manipulation. Heck, she even uses sex to get her way! She truly played a person you loved to hate! Eventually the slow-witted Howard realizes just how awful and cold his wife is and FINALLY he gets to the point where he realizes he must choose. I actually really liked this aspect of the film--as I found myself yelling at the TV for him to leave Loy--which is saying a lot, because I am a very traditional person and hate the idea of divorce. Well, it turns out that Howard, too, is against divorce and ultimately just runs to Harding to shack up--marriage or not! Considering the movie deals with premarital sex, living together, the Bohemian attitudes of Harding and Howard, adultery, using sex to manipulate your man and the whole "other woman" angle, it's an amazingly sordid and adult movie--even by 21st century standards. In this light, the film is a wonderful example of an "early Code" drama and of great interest to film buffs. In other words, in the early days of the Hays Production Code of ethics and morals, the code was mostly ignored by the studios and Hays' job was mostly symbolic. The office was started in the 1920s as a result of nudity and very adult themes in films--something that might surprise many people today. It wasn't until the mid to late 1930s that the code began to be strongly enforced--well after this movie appeared.
Leslie Howard plays a pretty wussy guy who has definitely had lived the "Bohemian lifestyle". However, by the time the movie starts, he's ready to give up his wild and fornicatious (is that a word?) past and marry Myrna Loy. It seems that although he's loved another (in more ways than one), this other woman (played by Ann Harding) wasn't the marrying kind and so he set his sights on Loy. However, once he announced his engagement, Harding suddenly has a change of heart and wants to legitimize her sordid relationship with Howard--but unfortunately, her change of heart comes too late. Howard, quite the idiot, thinks he can maintain a strong friendship with Harding WHILE STILL MARRIED TO LOY! Everyone but Howard realizes this can't happen and so naturally over time they drift apart.
A bit of time passes, and slowly but surely you come to see Loy as an incredibly manipulative and controlling woman. but Howard is slow to accept this. And, at the same time, Howard becomes more and more the "whipped dog". This presents an interesting moral dilemma, as although he and Harding had obviously been a lot more than just friends in the past, at least they loved each other. With Loy, there is absolutely no love--just manipulation. Heck, she even uses sex to get her way! She truly played a person you loved to hate! Eventually the slow-witted Howard realizes just how awful and cold his wife is and FINALLY he gets to the point where he realizes he must choose. I actually really liked this aspect of the film--as I found myself yelling at the TV for him to leave Loy--which is saying a lot, because I am a very traditional person and hate the idea of divorce. Well, it turns out that Howard, too, is against divorce and ultimately just runs to Harding to shack up--marriage or not! Considering the movie deals with premarital sex, living together, the Bohemian attitudes of Harding and Howard, adultery, using sex to manipulate your man and the whole "other woman" angle, it's an amazingly sordid and adult movie--even by 21st century standards. In this light, the film is a wonderful example of an "early Code" drama and of great interest to film buffs. In other words, in the early days of the Hays Production Code of ethics and morals, the code was mostly ignored by the studios and Hays' job was mostly symbolic. The office was started in the 1920s as a result of nudity and very adult themes in films--something that might surprise many people today. It wasn't until the mid to late 1930s that the code began to be strongly enforced--well after this movie appeared.
A good story told badly
duif_holmes3 October 2017
This movie had some good ideas, as others have pointed out, but the people behind it didn't really seem to understand the difference between plays and movies. Plays are "allowed" to be a bit talkier than movies since the actors doing the talking are in the same space breathing the same air as the audience. On the other hand scene breaks and multiple short scenes aren't nearly as disruptive in movies as in plays, so for God's sake use them! For example, after the opening shot of the printing press we never see the place again. Result: we don't care about it nearly as much as the characters do.
Also, the "villain" of the piece does some emotionally abusive stuff off screen, but the "hero" is a bit of a jerk on screen. Result: while watching the movie I ended up rooting for the wrong person at the end.
And this is probably more of a writing and acting problem than a cinematography problem but the relationships are so underdeveloped that Cecelia and Daisy running off together would almost make as much sense as what actually happens.
All in all, this movie is ripe for a remake by someone who actually knows what a movie is. And since it's in the public domain pretty much anyone can take a shot at it. Otherwise just read the plot summery off Wikipedia. It has all the interesting twists without any static talking scenes.
Also, the "villain" of the piece does some emotionally abusive stuff off screen, but the "hero" is a bit of a jerk on screen. Result: while watching the movie I ended up rooting for the wrong person at the end.
And this is probably more of a writing and acting problem than a cinematography problem but the relationships are so underdeveloped that Cecelia and Daisy running off together would almost make as much sense as what actually happens.
All in all, this movie is ripe for a remake by someone who actually knows what a movie is. And since it's in the public domain pretty much anyone can take a shot at it. Otherwise just read the plot summery off Wikipedia. It has all the interesting twists without any static talking scenes.
A great but little known movie
SHAWFAN5 October 2008
Previous reviewers have summarized the plot well. Likewise its pre-code frankness. But what makes this movie most interesting is the unusual context the various stars find themselves in. Think playwright Phillip Barry. What comes to mind: "The Philadelphia Story." Think Leslie Howard: "Pygmalion" and "Gone with the Wind." Think Myrna Loy: the "Thin Man" series. Think William Gargan: many later movies. Notice that Myrna Loy, later such an important star, has to take third billing after Ann Harding. That certainly wouldn't have been the case just a few years later. Good to see Ilka Chase in a screen role. I thought Howard and Loy superb in their acting, probably among the best work they ever did. Under the banal everyday polite surface of the dialogue and events little by little the characters expose themselves: Loy as the manipulative femme fatal and Howard as the man for whom the light begins slowly to turn on. For those whom the title puzzled, I caught Howard saying at one point, "We're just members of the animal kingdom."
Compare this film to Platinum Blonde of 1931 starring Jean Harlow. My IMDb review summarizes the parallels between these two films.
Compare this film to Platinum Blonde of 1931 starring Jean Harlow. My IMDb review summarizes the parallels between these two films.
Pre-code movie
mysterv8 October 2013
The Animal Kingdom has Leslie Howard, Ann Harding & Myrna Loy which is enough reason to watch this film. Ann Harding was a big star at that time and got top billing. I have enjoyed watching several of her films. This is pre"Thin Man" Myrna Loy so her character is a departure from the likable fun loving spouse of William Powell. I have grown to like Leslie Howard after initially only knowing him from his "Gone with the Wind" role. This is a pre-code film and the subject manner reflects that. None of the later restrictions of moral codes. Others describe the plot so won't go into that. It is listed as a comedy and drama but don't expect any comedy from the lead actors. The only source of comedy is the butler of Leslie Howard. The story is really a drama about relationships with just a small amount of comedy relief. After viewing the film my impression is that it was a curiosity of the time period but had enough interest to recommend it to others.
dreary but Loy great
mukava9919 November 2006
Warning: Spoilers
This dreary adaptation of Philip Barry's Broadway play has two things going for it: a stunning Myrna Loy and some interesting exchanges of dialogue that would have been censored if the film had been released a couple of years later when Production Code enforcement was strengthened. On the whole, however, this film stagnates as filmed stage plays often do. The camera just sits there focusing on people entering rooms and talking, talking, talking. The story is familiar to Barry aficionados: the conflict between the old northeastern Puritan establishment values and the new, modern Bohemian mindset. This conflict is played out by Leslie Howard, nonconformist publisher of arty books whose upper crust traditionalist father disapproves of his offbeat lifestyle. Howard chooses to marry rich girl Myrna Loy while his old friend, whom he really loves but doesn't realize it at the time, is abroad. The latter character is a Bohemian enacted by Ann Harding who at one point says, and I paraphrase, "I have no money but it doesn't bother me." What?! This supposed "Bohemian" lives in a large, spotless, finely appointed apartment with a picture-window view of the East River, is dressed and coiffed as elegantly as any wealthy blueblood and seems to travel the world at the drop of a hat. Anyone with an apartment, wardrobe and lifestyle like that in 1932 could hardly "have no money." *** POSSIBLE SPOILER*** Harding is way too stodgy for her part and we end up sympathizing with the ostensibly cruel, superficial Loy who is actually so sweet, alluring, sexy, gorgeous and youthful that it comes as a shock when she is revealed to be a nasty, hard soul at the end. In addition, although Harding gets top billing with Howard, it is Loy who occupies the most screen time and who rivets our attention. Howard is at first too humdrum to be convincing as an unconventional rebel, but his later actions during intimate scenes with Loy fire up the screen, abetted by suggestive conversation. This is about as far as Hollywood would go in the carnal direction until the 60s. William Gargan is also on hand as Howard's butler who treats his boss as an equal, drinks excessively and launches into talking jags that intrude tiresomely on the business at hand. A similar subsidiary character from a later and far superior Barry film adaptation (Holiday, 1938) serves the story better. The ideal cast for this film would have been Franchot Tone as the lead and Loy/Harding in reversed roles.
Wasted love and lost lives
SimonJack24 March 2014
Warning: Spoilers
The IMDb billing on this film lists it as a comedy and drama, in that order. But for a few witty lines in it, "Animal Kingdom" has no trappings of humor. The sometimes funny relationship between Tom (played by Leslie Howard) and Red (played by William Gargan) could hardly lift this to a comedy level. Surely not above the drama. There is an outside chance that this really is a sophisticated comedy – but then it's over my head (a distinct possibility, I admit). But from the story, script and dialog, I don't see that.
Rather, I see the main plot as a drama. Tom is a well-to-do son who has been living a carefree lifestyle with few responsibilities. He has been living and mixing with artists and writers who work at their trades while living a bohemian lifestyle. Tom has a small publishing house that prints artistic and cultural works, but it doesn't earn him much money. This has gone on for some years. Tom's father, Rufus Collier (played by Henry Stephenson) considers his son a wastrel. He is anxious that he settle down and take on the responsibility associated with his wealthy class.
Two women are prominent in Tom's life. Daisy, played by Ann Harding, has been Tom's friend and bohemian consort for his many carefree years. Daisy is an artist and aspiring painter. She and Tom have worked on publications together over the years. Tom had proposed to her in the past, but she declined. Cecelia, or "Cee" is played by Myrna Loy, and is Tom's fiancé. Daisy had been away in Europe for a long time, and Tom had just recently met and fallen in love with Cee. Other players have their parts – friends of one or the other main characters. Rufus likes Cee and is glad that she and Tom are getting married.
This story plays out with pathos as Tom parts from his friends. Daisy returns to New York, now hoping to marry Tom. Tom tells her he is in love with Cee, but he wants to remain friends with Daisy for life. We don't see the wedding, but after Tom and Cee are married, Cee influences him to a sale/merger of his printing house to produce dime novels that make money instead of the works of quality he had preferred. Daisy decides it's best to break completely with Tom's friendship, and she does so. Tom is left without much desire or hope, and we see him give in to Cee's every wish. Tom has become a most pitiable person.
Owen Fiske (played by Neil Hamilton) is an attorney for Rufus. He is attracted to Cee. At one point, he says to Cee, "Hang it all, Cee! Tom doesn't want to sell the Bantam." Cee says, "Tom doesn't know what he wants?" In another scene, Red serves Cee a drink and says, "You're a strange girl, Cee. And a pretty cruel one too." And in another scene, Daisy says to Tom, "I pity you will all my heart."
There is more – with Cee showing signs of infidelity. She now seems to disdain her husband, whom she sees as a weak person. She is a woman who wants wealth and power. In the end, Tom signs over a very hefty check his father had made out to him. He leaves it on the fireplace mantle for Cee, and walks out. We are left to imagine that he is going off to find Daisy, lost freedom and true love.
Perhaps a scene in which we learn of the title of this play and film will help us better understand it. This is after Daisy returns from Europe and Tom tells her he plans to marry. Daisy says, "Tom! Tom, do you have to marry here?" Tom replies, "I want to marry here." Daisy: "I thought maybe you just wanted her, or wanted her most awfully." Tom: "No, no, no. It's more than that. Much more." Daisy: "I don't see how you can quite tell that. For all our big talking, you know, we do still belong to the animal kingdom."
This film has some big name stars of its day. Leslie Howard was an established actor in England and the U.S. He was an RAF pilot and was killed when his plane was shot down during World War II. Harding and Loy had been around a while and would have many more roles and much better performances. Only Howard seemed to put much life into his role in this film. Harding, in particular, seemed wooden and flat. Still, for an interesting story and overall good cast, "Animal Kingdom" is an enjoyable watch.
Rather, I see the main plot as a drama. Tom is a well-to-do son who has been living a carefree lifestyle with few responsibilities. He has been living and mixing with artists and writers who work at their trades while living a bohemian lifestyle. Tom has a small publishing house that prints artistic and cultural works, but it doesn't earn him much money. This has gone on for some years. Tom's father, Rufus Collier (played by Henry Stephenson) considers his son a wastrel. He is anxious that he settle down and take on the responsibility associated with his wealthy class.
Two women are prominent in Tom's life. Daisy, played by Ann Harding, has been Tom's friend and bohemian consort for his many carefree years. Daisy is an artist and aspiring painter. She and Tom have worked on publications together over the years. Tom had proposed to her in the past, but she declined. Cecelia, or "Cee" is played by Myrna Loy, and is Tom's fiancé. Daisy had been away in Europe for a long time, and Tom had just recently met and fallen in love with Cee. Other players have their parts – friends of one or the other main characters. Rufus likes Cee and is glad that she and Tom are getting married.
This story plays out with pathos as Tom parts from his friends. Daisy returns to New York, now hoping to marry Tom. Tom tells her he is in love with Cee, but he wants to remain friends with Daisy for life. We don't see the wedding, but after Tom and Cee are married, Cee influences him to a sale/merger of his printing house to produce dime novels that make money instead of the works of quality he had preferred. Daisy decides it's best to break completely with Tom's friendship, and she does so. Tom is left without much desire or hope, and we see him give in to Cee's every wish. Tom has become a most pitiable person.
Owen Fiske (played by Neil Hamilton) is an attorney for Rufus. He is attracted to Cee. At one point, he says to Cee, "Hang it all, Cee! Tom doesn't want to sell the Bantam." Cee says, "Tom doesn't know what he wants?" In another scene, Red serves Cee a drink and says, "You're a strange girl, Cee. And a pretty cruel one too." And in another scene, Daisy says to Tom, "I pity you will all my heart."
There is more – with Cee showing signs of infidelity. She now seems to disdain her husband, whom she sees as a weak person. She is a woman who wants wealth and power. In the end, Tom signs over a very hefty check his father had made out to him. He leaves it on the fireplace mantle for Cee, and walks out. We are left to imagine that he is going off to find Daisy, lost freedom and true love.
Perhaps a scene in which we learn of the title of this play and film will help us better understand it. This is after Daisy returns from Europe and Tom tells her he plans to marry. Daisy says, "Tom! Tom, do you have to marry here?" Tom replies, "I want to marry here." Daisy: "I thought maybe you just wanted her, or wanted her most awfully." Tom: "No, no, no. It's more than that. Much more." Daisy: "I don't see how you can quite tell that. For all our big talking, you know, we do still belong to the animal kingdom."
This film has some big name stars of its day. Leslie Howard was an established actor in England and the U.S. He was an RAF pilot and was killed when his plane was shot down during World War II. Harding and Loy had been around a while and would have many more roles and much better performances. Only Howard seemed to put much life into his role in this film. Harding, in particular, seemed wooden and flat. Still, for an interesting story and overall good cast, "Animal Kingdom" is an enjoyable watch.
Swap Leading Ladies?
traceybulldog21 January 2021
Warning: Spoilers
As I watched this movie, I couldn't help wondering if I wouldn't like it better if the leading ladies switched roles. I did not find Ann Harding convincing AT ALL as the bohemian, free love, artistic Daisy. She is much too upper crust for the part. Her patrician looks and demeanor would have fit much better in the part of Cee.
And I would love to see Myrna get to be Daisy. Her sophisticated but unflappable manner would have made Daisy more fun and a more obvious choice for Leslie Howard to choose at the end.
Anyone agree?
And I would love to see Myrna get to be Daisy. Her sophisticated but unflappable manner would have made Daisy more fun and a more obvious choice for Leslie Howard to choose at the end.
Anyone agree?
A Matter of Taste
dougdoepke30 December 2016
A movie like this strikes me as a matter of taste. On one hand, it's slow, talky, and confined strictly to drawing rooms. On the other, it's a story of some substance, as Tom (Howard) must work through common human desires to figure out where happiness lies. In short, should he link up with the sexy Cecilia (Loy) or with the talented Daisy (Harding). Had the screenplay tightened up, varied the staging, and livened things up, the appeal would be stronger. Unfortunately, the lively butler's (Gargan) un-butler antics don't amount to much bouncy relief.
Nonetheless, Loy is drop-dead beautiful and a convincing manipulator, while Harding settles for a secondary and less glamorous role. I still can't decide on Howard—is he miscast or not. On one hand, he's got a bland screen presence, one that works against the pacing. Then too, I'm afraid a livelier mood would have overwhelmed his restrained struggle. On the other hand, he manages considerable subtlety in his portrayal of the conflicted rich man's son.
Overall, viewers not turned off by what amounts to a filmed stage play, may find subtle rewards in this searching 85-minutes. For me, it was mainly a disappointing struggle.
Nonetheless, Loy is drop-dead beautiful and a convincing manipulator, while Harding settles for a secondary and less glamorous role. I still can't decide on Howard—is he miscast or not. On one hand, he's got a bland screen presence, one that works against the pacing. Then too, I'm afraid a livelier mood would have overwhelmed his restrained struggle. On the other hand, he manages considerable subtlety in his portrayal of the conflicted rich man's son.
Overall, viewers not turned off by what amounts to a filmed stage play, may find subtle rewards in this searching 85-minutes. For me, it was mainly a disappointing struggle.
stage drama well done
drystyx5 November 2012
It's fair to call this a "chick flick" on the basis of its romantic plot, but it's also a theatrical film. It's obviously done in stage play format, with the sort of characters one usually envisions on stage.
There is a romantic triangle of Leslie Howard and two women. It does take a while before we realize how it must play out emotionally, so there is some suspense. Handsome Neil Hamilton comes out of the lion's mouth to provide the possible fourth, and I won't spoil it by saying how far he gets. I must say that when I found a movie called "The Animal Kingdom" with the hunter who met Tarzan on two safaris before becoming cat food, I thought this might be more of an adventure.
Sadly, a lot of it dragged. That's the "chick flick" part, but it's also good drama. It's most conversation, but well blocked. The comic relief character of the ex boxer provides some relief from what often becomes melodramatic. Trouble is, there are long spurts in which he probably should have been inter-spliced more often.
Still, it is a nice story, and best for viewing with company.
There is a romantic triangle of Leslie Howard and two women. It does take a while before we realize how it must play out emotionally, so there is some suspense. Handsome Neil Hamilton comes out of the lion's mouth to provide the possible fourth, and I won't spoil it by saying how far he gets. I must say that when I found a movie called "The Animal Kingdom" with the hunter who met Tarzan on two safaris before becoming cat food, I thought this might be more of an adventure.
Sadly, a lot of it dragged. That's the "chick flick" part, but it's also good drama. It's most conversation, but well blocked. The comic relief character of the ex boxer provides some relief from what often becomes melodramatic. Trouble is, there are long spurts in which he probably should have been inter-spliced more often.
Still, it is a nice story, and best for viewing with company.
Too talky, too slow, without cinematographic imagination.
piapia18 March 1999
All plays by Philip Barry are intelligent plays. But when The Animal Kingdom was filmed, movies had not learned yet how to move while filming plays. The result is a very slow movie, which we listen to but do not compels us to look at. Edward H.Griffith was that kind of director, but the films he made for MGM immediately after this were much better. Specially No More Ladies had a pleasant rhytm and camera movements, which we do not find in the interminable conversations of this picture. But Griffith was an excellent director of actors and his work with Ann Harding, Leslie Howard, Myrna Loy and William Gargan proves it. It is very amusing to watch Henry Stephenson really acting under Griffith and not being just himself as usual.
Writing, acting, directing create an excellent domestic drama
morrisonhimself9 December 2016
Once I actually spoke to Ann Harding on the telephone, but, alas, I didn't really know who she was. Yes, it was late in her life and early in mine, but if I had had the slightest idea what an extraordinary actress she had been, I would have been more forward, would have tried to spend time talking with her in person.
I knew the name. She had been a star. But now having seen her in "The Animal Kingdom," I am simply astonished at her ability.
In fact the entire cast is compelling. Even other people of whom I knew nothing or very little were impossible to look away from.
For example, "Franc," played by Leni Stengel, was such a strong, and well-written, character, she was never over-shadowed even by the major characters. "Joe," played by Don Dillaway, was another, and I had never heard of either actor before. Now I want to see everything they ever appeared in. The two actors were remarkable performers, contributing great talent to an already overwhelmingly talented cast.
Myrna Loy played a strong and attractive "society lady," but her character was different from the kind she is known for and gave her a chance to demonstrate she too was one fine actress, capable of variety, and not just a pretty face.
Leslie Howard played, as it seemed he so often did, a rather weak character, but one capable of greatness, or at least potentially of strength.
William Gargan was wonderful as a supposed-to-be-servant who just didn't "know his place." I've never seen him in this type of role, and he was just captivating.
But Ann Harding stole it all.
She was, of course, beautiful, but her mannerisms and gestures, under played, just proved definitely that she was an actress, and an actress of power.
Horace Jackson's script is based on a Philip Barry play so perhaps credit for the dialogue belongs mostly to Barry, but it's intelligent and entices an audience into sticking with everything happening on the screen, even though the actual story is rather sad. It's about misdirected desires, and sacrifices people really shouldn't make.
"The Animal Kingdom" is a good movie, one I recommend, and one I am grateful to Turner Classic Movies for presenting on 9 December 2016. It is and has much more than the one-sentence description found in TV listings. It is much more than a soap opera. It is a strong drama beautifully acted and written, and deserving of serious attention.
I knew the name. She had been a star. But now having seen her in "The Animal Kingdom," I am simply astonished at her ability.
In fact the entire cast is compelling. Even other people of whom I knew nothing or very little were impossible to look away from.
For example, "Franc," played by Leni Stengel, was such a strong, and well-written, character, she was never over-shadowed even by the major characters. "Joe," played by Don Dillaway, was another, and I had never heard of either actor before. Now I want to see everything they ever appeared in. The two actors were remarkable performers, contributing great talent to an already overwhelmingly talented cast.
Myrna Loy played a strong and attractive "society lady," but her character was different from the kind she is known for and gave her a chance to demonstrate she too was one fine actress, capable of variety, and not just a pretty face.
Leslie Howard played, as it seemed he so often did, a rather weak character, but one capable of greatness, or at least potentially of strength.
William Gargan was wonderful as a supposed-to-be-servant who just didn't "know his place." I've never seen him in this type of role, and he was just captivating.
But Ann Harding stole it all.
She was, of course, beautiful, but her mannerisms and gestures, under played, just proved definitely that she was an actress, and an actress of power.
Horace Jackson's script is based on a Philip Barry play so perhaps credit for the dialogue belongs mostly to Barry, but it's intelligent and entices an audience into sticking with everything happening on the screen, even though the actual story is rather sad. It's about misdirected desires, and sacrifices people really shouldn't make.
"The Animal Kingdom" is a good movie, one I recommend, and one I am grateful to Turner Classic Movies for presenting on 9 December 2016. It is and has much more than the one-sentence description found in TV listings. It is much more than a soap opera. It is a strong drama beautifully acted and written, and deserving of serious attention.
Wittily presented male chauvinism
karlpov17 March 2010
I came away from this with a somewhat different message than the playwright intended (the same playwright, I should point out, who started The Philadelphia Story with a comedic stylization of wife-beating). The hero, played by Leslie Howard, starts a publishing enterprise devoted to the avant-garde works admired by his friends. He marries, and surprise, his wife, played rather icily by Myrna Loy, has the philistine idea that he should publish a few titles which will actually reap a profit so that he can at least finance his little enterprise without losing the family fortune. The movie leaves no doubt that such a money-grubbing attitude is worthy of the deepest condemnation. Hubby naturally finds himself longing for his former without-benefit-of-clergy bedmate, played by Ann Harding, who understands his sensitive soul and is more likely to indulge his dissipating his wealth, since she has no more sense than he does.
Oh, I enjoyed the movie, but I'm surprised that so many seem not to notice how shallow and stupid its ideas are. Leslie Howard does his best to make the protagonist seem noble, and I guess that for many viewers, he succeeds. Loy, not yet a star, is lovely as always.
Oh, I enjoyed the movie, but I'm surprised that so many seem not to notice how shallow and stupid its ideas are. Leslie Howard does his best to make the protagonist seem noble, and I guess that for many viewers, he succeeds. Loy, not yet a star, is lovely as always.
Overly dramatic, nonsensical pre-code play, too slow
Nate-4821 September 2019
Too slow, drags on too much.
Kind of interesting how they made it look like New York City in the background though it was filmed on RKO lot.
Hard to complain about any movie with Myrna Loy, who is lovely.
Leslie Howard is Leslie Howard and his boyish charm shines through as usual though I think he is let down by the script.
Ann Harding is good though the role is not so appealing or believable at times.
William Gargan makes a fine turn in a supporting role, though again, the script isn't that good for his character's believability.
There is one scene in particular that really stands out between Loy and Howard which really highlights the pre-code nature of this movie. It is really amazing how far films could push the envelope at this time.
Interesting to see that George Cukor had an uncredited directing role in this though totally understandable when you see the romantic scenes.
Ann Harding Steals the Show
charmadu27 March 2020
I caught this by accident the other night trolling on amazon prime. WOW. I had never seen Ann Harding before - now I'm searching for all her films. Her scenes with Leslie Howard are timeless. She reminds me a bit of Helen Hunt - the intelligence, integrity and genuine affection she displays jump right across the screen. Her character is a total opposite to the completely controlled and controlling wife played by Myrna Loy. I never liked Philadelphia Story all that much so I was not anticipating that I would sit through the entirety of another Phillip Barry story, but I was wrong. Philadelphia Story asked us to smile at the elderly father's affairs with younger women and dismissed his daughter's opposition solely because her mother declared "it doesn't bother me", when clearly the reverse situation would have been unthinkable and abhorrent. Animal Kingdom instead shows us a woman typically viewed by society as "dishonorable", living a life of integrity. Not what you would expect from this era. I only wish we'd had a final scene with Harding and Howard, but I'm a romantic.
Do I Dare To Eat A Peach...?
atlasmb4 September 2022
Thomas Collier (Leslie Howard) has always eschewed conventions and the advice of his father for a more Bohemian lifestyle, so when he tells his best friend, Daisy (Ann Harding), he is to marry, she is confused and hurt. But he does settle into the country life of Connecticut with his new wife, Cecelia (Myrna Loy), and steers his publishing business toward more commercial-and less artistic-endeavors.
This is a very mannered story. Much of the text remains subtext, relying on the cast to convey their hidden emotions nonverbally, which they do very well. There is a battle going on, but it is not between the two women; it is an struggle within Tom, who may have sacrificed what he really wants for comfort, or predictability, or family considerations.
The "animal kingdom" apparently refers to the natural order of things. Tom and Daisy have always tried to live on a "higher" plane of their own invention, but human nature, being part of nature, is a primal force. And when Tom comes to a psychic crisis, he must decide which part of his emotional makeup to nourish.
It is enjoyable to watch these actors master the lines that originated with Philip Barry's play. A performance particularly fun to watch is that of the butler, Regan (William Gargan), who is rather undisciplined.
This is a very mannered story. Much of the text remains subtext, relying on the cast to convey their hidden emotions nonverbally, which they do very well. There is a battle going on, but it is not between the two women; it is an struggle within Tom, who may have sacrificed what he really wants for comfort, or predictability, or family considerations.
The "animal kingdom" apparently refers to the natural order of things. Tom and Daisy have always tried to live on a "higher" plane of their own invention, but human nature, being part of nature, is a primal force. And when Tom comes to a psychic crisis, he must decide which part of his emotional makeup to nourish.
It is enjoyable to watch these actors master the lines that originated with Philip Barry's play. A performance particularly fun to watch is that of the butler, Regan (William Gargan), who is rather undisciplined.
Everyone is stiff in this movie...(spoiler)
cbryce5924 July 2012
Warning: Spoilers
Leslie Howard is pompous and stiff, playing a character who is the same. Myrna Loy is beautiful, sometimes charming, but also a little stiff. She seems unused to the role of the woman who loses in the end. Ann Harding has always come across as mannered and stiff to me, and this movie is no exception.
Being that it is a pre-code, the man is permitted to choose his mistress over his wife-very unusual indeed and you won't see that again after 1934 for many decades. But he knew what his wife was when he married her, yet he acts so affronted and disgusted when she lets him know that she really wants him to accept his father's offer to live in the city, as she is unhappy and bored in the country. She wants a more exciting life.
Ann Harding's character seems anything but the footloose artist. She comes across as very priggish and upright to me. Yet we are to believe she is a "free soul". It is even less believable that Howard's character is such a person. They seem like two prigs, who probably do belong together after all.
Being that it is a pre-code, the man is permitted to choose his mistress over his wife-very unusual indeed and you won't see that again after 1934 for many decades. But he knew what his wife was when he married her, yet he acts so affronted and disgusted when she lets him know that she really wants him to accept his father's offer to live in the city, as she is unhappy and bored in the country. She wants a more exciting life.
Ann Harding's character seems anything but the footloose artist. She comes across as very priggish and upright to me. Yet we are to believe she is a "free soul". It is even less believable that Howard's character is such a person. They seem like two prigs, who probably do belong together after all.
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