mark.waltz "Women marry men they hope they can change, and men marry women whom they hope will never change". So says the wise, aging scoundrel played by Henry Stephenson, giving a terrific performance in this lavish looking Goldwyn film that features a story similar to Selznick's 1939 classic "Intermezzo", that of a decent man (Ronald Colman) who finds himself involved with another woman while married to a wonderful woman and separated from her. The separation comes because of the wife's (Kay Francis) silly younger sister (Florine McKinney), escorting her to Italy on a whim on the day before Colman and Francis's seventh anniversary. Stephenson takes Colman out to dinner where they meet two young women (Phyllis Barry and Viva Tattersall) and spend a night out on the town with them. Barry falls head over heels in love with Colman who warns her about his situation, but she cannot allow herself to go. Unlike Ingrid Bergman in "Intermezzo", Barry is emotionally immature, even if she's not an outwardly silly creature like McKinney, and the story indicates that nothing inappropriate occurs during the times Colman and Barry are together.As he would do in his string of independent films of the 1930's, Samuel Goldwyn (along with director King Vidor and their artistic team) creates a very lavish fantasy like setting, with sensational glamorous restaurants, beautiful parks with lush greenery and art decco houses and other locales. From the reviews I've read, this has been referred to as being greatly dated, but the only thing I find perhaps dated about it is the fact that all three people involved in the situation are incredibly nice, although Barry's final act shows her to be an already troubled girl who needed more maturing before entering into any kind of serious relationship regardless of the other person's marital status. Francis gives her usual professional performance, noble yet not long-suffering, understanding yet not shocked when the revelations come out. Stephenson's character reminds me of the lovable old coots that Charles Coburn would later become famous for, and he steals every scene he is in with wit, wisdom and a touch of an "I've been there, done that...several times" attitude. As for Barry, she instills her young character with a love of life in the zest of youth that is hiding an inner sadness, indicating that past affairs have not been fulfilling and that she's either doomed to end up alone...or simply just doomed. A surprising climax has the previously vivacious Tattersall confronting Colman over an acting towards Barry, showing a great loyalty and moral code that you didn't expect to come from her. While looking at gossip column reports on affairs today, this might seem a bit unrealistic, but this is a view of a different kind of affair, one where the outcome is about companionship and the avoidance of loneliness rather than one of strictly sexual pleasure. Today's audiences might laugh at such an operatic view of old school scandals, but there are many lessons here to be learned, from the art of personal grace to the meaning of what true love really is, and ultimately, what keeps a marriage together even beyond the worst of situations.

calvinnme There's nothing really remarkable about this film - A normally respectable man has an affair when his wife is away and the worst possible outcome for everyone involved occurs. As always, of course, the devil is in the details.I actually felt rather bad for Jim (Ronald Colman), a respectable barrister with a good marriage whose wife (Kay Francis as Clemency) takes off for Venice for weeks on a lark just because her flighty sister needs to be saved from herself - she's in love with a parachute jumper! She leaves Jim in the clutches of someone much more dangerous than another woman. She leaves him in the company of a lecherous older man (Henry Stephenson as John Tring) who is insistent that he drag everyone down to his level of debauchery and cynicism - a level of debauchery which, at his age, and decades before the invention of that little blue pill, he can only enjoy vicariously through the acts of others. When John and Jim go out for dinner John invites two young girls over to join them - amidst much protest from Jim - and practically pushes one of them (Phyllis Barry as Doris) into Jim's arms. Nothing happens that night, but Doris has her cap set for Jim even knowing he's a married man. Once she finally gets Jim inside her flat weeks later, Doris nags the poor guy to the point that I'm sure he's willing to bed her just to shut her up. Doris would have made a great time share condo saleswoman had she lived in modern times.So the two have their affair with the understanding that it will end when Clemency returns. Doris has Jim's body but she'll never have his heart, so to speak. But then Clemency returns and Jim lives up to the agreement they've had all along and ends the relationship, though not without some pain of separation as he has grown to care for the girl. Doris poisons herself rather than live on without Jim. Now Jim should have seen this coming when Doris went all Ophelia on him when they were on one of their weekends in the country, with her crying about how the trees must be so sad when lovers never return to enjoy them??? The inquest goes hard on Jim, although I'm not sure why there even is one since Doris obviously poisoned herself according to the police and Jim was miles away at the time. Apparently, 80 years ago, it would have made a difference in public opinion - all important for a barrister - if Jim was not Doris' "first". Doris told him that he wasn't as part of her initial sales pitch, but he is just too much of a gentleman to say so in court when asked that very personal question. He is thus presumed to be the deflowerer of an innocent young shop girl and, although not criminally responsible, any hope for a career or even social acceptance is over.So this is where we started and this is where we leave off. Jim has been recounting the entire story to Clemency before he leaves for South Africa to start again where he is not known. Will she go with him or start over without him? And since up to now she has decided to leave Jim what or who - if anything - will change her mind? That much I'll leave for you to find out.Before you think me too hard on Doris let me just say that I am a woman, not a man, so I watched this from the sympathetic eye of a woman who was once a girl, been there, done that. Believe me, even young women can tell when a man is just unhappy versus unhappily married. The people to watch out for are the evil people in this world such as John Tring who want to drag everyone down to their level yet see themselves as civilized, the silly people like Clemency who will leave a treasure on the sidewalk and just assume it will be there when they get back, the even sillier people like Clemency's sister who is doomed to marry the wrong man - it's just a matter of time, and finally those who won't level with themselves like Doris. Put all of these people together and even a basically decent man like Jim is bound to succumb to his human weaknesses.

vincentlynch-moonoi The foundation of this film is really understood in the segment where Ronald Colman judges a beauty/swimming competition. As the organizer keeps saying to him -- there will be no class distinctions here today! And that's what this film is about -- an affair between a well known barrister and a common girl, and the disgrace it brings to the barrister. Without understanding that, you'll wonder what all the fuss was about.In Naples, the disgraced London barrister (Ronald Colman) is about to divorce his beloved wife Clemency (Kay Francis) and start anew in South Africa. But before parting she asks him to explain how the affair happened, which is done through a long flashback: When Francis goes to Venice with her sister, Colman meets a "shop girl" and has an affair. It appears that it is not platonic, and after all, this is 1932 England. Unfortunately, the woman he falls for is rather emotionally needy, and when the affair ends, she commits suicide. While Colman cannot be held legally responsible, at the inquest he is held morally responsible. After Colman and Francis separate, his friend who knew of the affair (and actually encouraged it), convinces Francis to think about what it would mean to her to never see him again...hinting at suicide. Francis surprises Colman by showing up on the boat to South Africa.This is a very "old" film...what I mean by that is that this is definitely 1932. Today's audience would find this a bit stodgy. However, it is one of Ronald Colman's great successes, and he is wonderful here. I often enjoy Kay Francis, but she seemed a bit stiff here...although maybe she's supposed to be; nevertheless, I would not find this one of her great film roles. Henry Stephenson plays the elder barrister who encourages the affair, and it is through him that we see the attitude toward class; although not a very sympathetic role, I always delight in his screen appearances.For buffs of old films, or fans of Ronald Colman (like me), I recommend this film.The flashback ends. After Jim leaves to board his ocean liner, Tring comes to talk to Clemency. While he accepts a share of the blame for what happened, he reminds Clemency that she may never see her husband again. She rushes to the ship to accompany Jim.

blanche-2 King Vidor directed "Cynara," an early talkie starring Ronald Colman and Kay Francis, in 1932. The title is based on a poem by Ernest Dowson that contains the line: "I have been faithful to thee, Cynara, in my fashion." Colman plays a barrister who is faithful to his wife of 7 years, Clemency (Francis) but succumbs to the carnal temptation of a young girl (Phyllis Barry) while his wife and her sister are in Venice.As others commented, there are some lovely effects, including the film within a film, and a piece of paper that Colman rips up that dissolves into flying pigeons in Venice. And there are very good performances by Colman, Francis and Barry, who has the difficult role of the young girl who, because of a mistake, is not considered quite respectable, and falls for Colman.The problem I have with the story is that the Colman character is such a devoted husband in the beginning and so happy about being married 7 years. In practically the next scene, with the encouragement of his friend (Henry Stevenson) he has taken up with this girl. If some of that had been left out of the script, it would have been much more believable.At any rate, well worth seeing for the director, the precode aspects, and the stars.