Sonya Troncoso Joan Crawford plays Mary Howard, a novelist in love with her publisher who can't seem to finish her latest manuscript about a woman in love with a married man. In a case of art imitating life, Mary much like her literary heroine believes Rogers Woodruff will leave his wife and forge a future together with her. To make things complicated, Mary is relentlessly pursued by handsome Jimmy played by charming Robert Taylor. Although she likes Jimmy, Mary turns down his marriage proposals saying she prefers to remain friends. Instead, Mary arranges a getaway weekend at the home of ditsy friend Bridgi (wonderfully acted by Spring Byington) so she can see Rogers. The plot thickens when Jimmy accidentally runs into Woodruff's wife (played by Greer Garson) and invites her on an outing where they "get lost" and find themselves at Bridgi's cottage. The story is an interesting one as Jimmy fails to tell anyone about Claire's true identify. Claire Woodruff is also in the dark about the woman, Jimmy is trying to make jealous. Throw in a thunderstorm and Jimmy's plan that inevitably sends Woodruff away on a wild goose chase so that the two women can meet, makes this film worth seeing. Both Joan and Greer Garson turn in solid performances. The acting is a bit stylized, characteristic of the 1940s but both women are appealing in their roles. Spring Byington almost steals the show with her funny character portrayal of Bridgi. The dialogue is crisp and Bridgi provides comic relief and helps the story flow. Stranded at the cottage, Mary and Claire strike a friendship and genuinely like each other. It doesn't take Mary long to know that Claire is married and confesses Jimmy is only trying to make her jealous."When ladies meet" has powerful scenes and the viewer is in on the secret of their connection as it cleverly unfolds to the two women. The dialogue is honest and the reveal ultimately helps Mary's writer's block to help her finish her novel. I highly recommend "When Ladies Meet."

mark.waltz The comparisons to Crawford's previous other women role in 1939's "The Women" will be many, but her character of Mary is as far from Crystal Allen as Green Garson's Claire is from Norma Shearer's overly noble Mary Haines. Novelist Crawford is in love with her publisher (Herbert Marshall) who is married to Garson, a witty woman who doesn't give any indication of why any man would cheat on her. Delightfully pleasant without being overly grand, Garson is an ideal wife, while Crawford incorrectly believes the wife she's never met (and knows nothing about) isn't exciting enough to care about. Thanks to Crawford's nosy admirer (Robert Taylor in a performance I found truly annoying), everybody ends up together at the country home of their dizzy friend, Spring Byington, where a friendly conversation between the two women brings everything out even though they have no idea of who the other one really is.It is the long conversation between Crawford and Garson that stands out in this light-hearted romantic drama with definite comic overtones where wife and girlfriend (Crawford is certainly more important to Marshall than just a mistress) bond, discover the truth and come to some conclusions. The men too learn a thing or two about the women they love, loathe or cheat on, so everybody manages to grow up a little.Rather dicey in the exploration of Byington's seemingly live-in relationship with a man she isn't married to. This is a rare example of how writers managed to get away with certain details that were overlooked by the very tough production code. Byington's dizzy Dora can be quite annoying at times, but ultimately you like her as well because she means well. Taylor, though, plays a truly meddlesome Lothario and the result, at least for me, was that I didn't want to see his character end up with anyone when everything comes out. It is Crawford and Garson who shine the most, their pairing obviously more congenial off-screen than Crawford's was with Shearer during the making of "The Women". The respect their characters have for each other during their introductory scenes shines through their admiration for each other personally.A bit livelier than the original 1933 version, it focuses more on the light-heartedness here than the Ann Harding/Myrna Loy pairing did with that version's Noel Coward like drawing room comedy. That version featured a more memorable performance by the hostess character (Faye Bainter) who didn't play her like a dumbbell. The country setting of Byington's old barn turned into a country home is the visual highlight of the film, with a huge waterwheel churning water into the man-made pool, shrubbery surrounding the house and pond, and a quaint interior which is truly a delight to explore. This weekend in the country would be a delight just for that.

silverscreen888 Rachel Crothers was one of the United States' best playwrights for decades. "He and She" and "When Ladies Meet" are her two best-known works. There was a good earlier version of this work; this remake has the benefit of stars of the caliber of Greer Garson as the wronged wife, Joan Crawford as the girl who wrongs her, Herbert Marshall as Garson's husband and Robert Taylor as the young man who loves Crawford. Robert Z. Leonard directed the film, with his usual skill in getting first-rate performances from his actors. The screenplay, adapted from the fine play by Anita Loos and S.K. Lauren, seldom seems as if it had been a stage work; and the scenes are opened out to include sailing and other outside scenes. The film boasts another lovely set by Cedric Gibbons, and some dense B/W style provided by the photography team. Music is by Bronislau Kaper, and in the talented cast along with the aforementioned quartet of well-cast actors the director gave us Spring Byington and several other good choices. But it is the plot in this highly-intelligent and understated contest between two women that drives every action; the theme of this important look at personal relations and the rules of commitment in partnerships is honesty--to oneself, and to one's partner. Garson thought she had a good marriage; Marshall may not have thought so, but he had no real reason to cheat, except to pretend to be Crawfor'd infallible mentor--a very unhealthy misassumption. Crawford thinks she is modern because she does not care why she is making herself momentarily happy; and Taylor loves Crawford for what she should be, not what she is. Byington, older and wiser, has taken on a 'husband' who is content to be her husband, and she has settled for his good points and agreed to put up with the rest on equal terms. The gimmick that works as a plot device here, cleverly, is that the two women in Marshall's life have never met; and when they do, Crawford still does not know who Garson is--or that she know her for what she is... In their parts, Garson is powerful, wonderfully intelligent and strong; Crawford does her best but apart from matching her charisma she cannot begin to match Garson's ethical screen presence. Robert Taylor plays his part as callow, charmingly young, and it is one of his best in energy, approach and timing. Marshall is professional in his part, but a bit old or staid to play a part that really required a Warren William or Walter Pigeon. .The lighting, the set decorations by Edwin B. Willis and the costumes are a great asset also. This is a very underrated.and intelligent look at "modern marriage", c. 1941. The upshot of the film is that Marshall realizes what he about to lose and is smart enough to try to earn Garson's love again, and that Crawford realizes what she was about to do for momentary pleasure by pretense, without even having earned it--with the possibility that Taylor may become to her what she had been fantasizing Marshall might be. This is always an interesting narrative, a very compelling mix of dramatic and character- revealing screwball satire elements. Highly recommended

doc_brown Simple story, but some of the acting is marvelous, especially Greer Garson, who literally steals the movie. It was almost embarrassing to watch Joan Crawford try to act next to her. The difference of talent between the two women is unmistakable---Garson is leagues ahead.Robert Taylor was also excellent, playing the mischievous suitor, comically bent on winning Joan Crawford's Mary Howard. I had previously only seen him melodrama, so watching him play a comedic role was very refreshing.The story is a bit slow, but it picks up when Crawford and Garson meet towards the end of the picture. The dialog there is smart and thought provoking, and the talent of Garson really shines through.Not a great movie, but worth a rental to catch some good acting from two of the studio era's greatest stars.