calvinnme Today, most women initiate divorces. But there was a time when it was the other way around since women had few options outside of the home. If you were a woman, you'd just better hope that as the bloom fell off of your rose that your husband did not get the 7, 17, or 27 year itch. This is about the impact of one of those marriages with an itchy husband, an unlikely cad, Lewis Stone as Marlett.I like how this movie takes the time to build up the characters, always a trademark of screenwriter Frances Marion. A great deal of time is spent in the beginning to show the respect and friendship wealthy author Marlett has with his only child, Lally (Norma Shearer). Then a tell - she asks her dad as they walk up the drive, what book he is working on. He says it is a romance involving a 45 year old man. She, about 20, laughs at the idea. Marlett says that the middle aged are made of flesh and bone too. That life is not over at 30 as youngsters think, and that they thirst for romance, that "last" romance, indicating that dad might be thirsty. When they get to the top of the drive, the slender and glamorous Mrs. Chevers is talking to Lally's mom about her son, Doug, who is away at Princeton. Lally's mom is graying, a bit overweight, a bit sedentary, and Marlett calls her affectionately "mama". Indicating that he thinks of her as first Lally's mom - and a good one - and then a wife.A year passes and Marlett and his wife are planning to divorce, as is Mrs. Chevers from her husband, but Lally yet knows none of this. She walks into her dad's study and catches Mrs. Chevers and her father in a passionate embrace, talking of marriage. Then her dad tries to justify it. He says that he and her mother are not the same boy and girl who made all of those promises 23 years before. I like Lally's translations - that perhaps he sees her mom as fat and a bit boring "unlike the slick Mrs. Chevers". He says he intends to keep the house. She reminds him that doesn't matter to her since her mom is being bundled out of that house and Mrs. Cheever is being brought in to replace her. Lally says her final goodbye to him and plans to never marry because she will not be made a fool of as her mother has been, and the male sex has fallen mightily in her esteem because of her father's fall, which he won't even acknowledge as a misdeed.So off go mother and daughter for a summer vacation before mom goes to France for a divorce, which was the custom in that day. When Lally reiterates her vow to never marry, her mom is happy, which seems odd. Meanwhile, back at the ranch, Marlett is not succeeding at hanging out at his old haunts with his new mistress. They both get the cold shoulder from everyone. I'm not sure why this scene was in here other than to show that people did pass moral judgment on affairs and homewreckers at that time, and that a smooth transition did not await them both if they proceed.On vacation, Lally meets a guy (Robert Montgomery) who really fancies her. They dance, they enjoy each other's company, and maybe Lally is softening on men just a bit until she discovers his full name - Jack "Doug" Chevers - son of the woman who has ousted her mother, a symbol of why she decided to not take men seriously in the first place.So Lally is one confused girl. She has a mom who encourages her to play the field due to her own bad experience with marriage. She has a dad who thinks "until death do we part" is just a phrase people like to kick around at weddings, and she has a beau who is insisting on marriage now - as in right this minute. How will this all work out? Watch and find out.This is very good writing by Frances Marion who had already had a couple of short lived marriages that did not work out and one that did that ended in her husband's sudden death just the year before. Thus she could approach this subject of love from the viewpoint of someone who had seen all of the angles. I'd highly recommend it.

jjnxn-1 Clunky, episodic early talkie is a good example of the rough edges that film went through in the transition from silence to sound. Most of the performers were silent stars and are obviously still adjusting their performing style to the different requirement of the microphone. Norma, who was inexplicably nominated for an Oscar for this overly emphatic performance, is best in her speechless moments. Robert Montgomery, one of the few actors not moving from silence to sound but still new to films is awkward and fond of practically being on top of the other person in his scenes. To be fair this might have been a requirement of the new technology, and it is better than talking into a flower pot, but he seems more reliant on it than the other actors. He would improve vastly within a short period of time but here comes across as a callow youth. The great silent star Belle Bennett, rather preposterously cast as Norma's mother since they were only eleven years apart in age, is effective though some of her gestures also hark back to a more silent form of pantomime. The movie overall works best in those passages where dialog isn't required. There is a lovely dancing scene that flows far more smoothly than any other in the film. In another sign of one era giving way to another many of the scenes are introduced via title cards and rather than an easy flow to the film it has a choppy episodic feel.

barnesgene The Amendment giving women the right to vote was only nine years old when this movie was made. It sure shows. I'm not a big feminist (is any male, really?), but I was grinding my teeth whenever the question, "Oh, Darling, won't you be mine?" was asked. Today, it's a quaint notion, but at that time, the idea that a man could own a woman was accepted without any raised eyebrows. I found the love affair between the two leads simply not credible; it had no traction. One couldn't imagine happening today what the Shearer character decides with respect to her new lover -- and we're seemingly so much more sophisticated these days. Ah, 'tis a queer, ironic world. A technical note: If the couple was on Lake Michigan when the storm blew up, somebody needed to tell the author that there just ain't that many islands in the lake, and none within an easy row or swim. A little reminiscent of Puccini's opera "Manon Lescaut," the final scene of which takes place in the "Louisiana desert."

nycritic The year 1930 was a pretty interesting year for MGM actress Norma Shearer as she became one of the very few people to be up for the Oscar for Best Actor/Actress for two different movies (and thus beating herself as she won for THE Divorcée).The story of THEIR OWN DESIRE is in its bare bones, a melodrama without MGM's excesses and an experiment in sound reflecting the ghost of silent pictures. The movie opens with a crucial event: Henry Marlett (Lewis Stone) is leaving the family in a shocking way – he is divorcing his current wife (Belle Bennett) for another lady, a Ms. Beth Cheever (Helen Millard). Norma Shearer plays the temperamental daughter Lucia "Lally" who can't stand to see her family be separated by this occurrence and grows estranged from him. She soon after meets and falls in love with a young man, played by Robert Montgomery, who happens to be Ms.Cheever's son. Mrs. Marlett of course is outraged at their relationship and teeters on suicide which temporarily separates Jack from Lally, but not for long: they do meet one night in what seems to be a clandestine elopement, and are caught in a raging storm. To the world they have drowned, but her father rushes to find them and bring them back to safety. The film ends as Lally and Jack are back together again.Shearer and Montgomery work well as a romantic couple and would be re-teamed again on two occasions, on PRIVATE LIVES from 1931 and RIPTIDE, from 1934. Here, though, both display a frank youthfulness to their interpretation – they could easily pass for nineteen, which is what their characters portray. Shearer especially is good in her scenes and doesn't totally resort to the posturing that was common of the actors making the transition from silent to talkies, although the moving scene as she wavers in and out of consciousness after the storm, cradling Montgomery's head and half-praying has a silent film quality which regardless, holds well. As does the lovely moment when Shearer and Stone reconcile – there is a genuine, emotional moment that without too much exposition neatly ties the story at its conclusion.THEIR OWN DESIRE has a clunky quality that comes from the type of transition from scene to scene and its script implies more than it states, but nevertheless this is a good movie to sit back and enjoy for a little more than an hour and watch the rising leads play exuberant, privileged young things from the Roaring Twenties.