This film preserves Helen Hayes in one of her most celebrated roles, and Brian Aherne and the rest of the cast are quite fine as well. Indeed, Lucile Watson is a particular delight as the Comtesse de la Briere. The first half of the film hews closely to J. M. Barrie's play, yet it never feels "stage-bound" in the least. It has been opened up for the film quite effectively and none of Barrie's humor or clear-eyed sentiment have been lost. However, in an apparent attempt to simplify some of Barrie's plot devices, the last half of the film has been changed considerably from the play; and not to its benefit. Indeed, the rest of the script is pretty much a mess and makes nonsense of Barrie without improving the story in the least, as well as vitiating the entire thrust of the drama. Still, the film is worth seeing for Miss Hayes' excellent performance and Mr. Aherne's very capable one.
14 Reviews
Helen Hayes and Brian Aherne are a delight
AlsExGal1 August 2015
Maybe you have to be Scottish to completely appreciate this, but I've always loved this film. It is great to see Helen Hayes not playing the victim in a film role for once - although she played them well, and Brian Aherne, always a good actor, is a vivacious hunk at age 32, perfect for the role of a man who thinks he is more than he really is.
The story starts out with Maggie Wylie's (Helen Hayes') brothers pacing the floor worrying about what is to become of their baby sister given that she has reached the age of 27 and is unmarried with no prospects. They end up making a deal with a burglar (Aherne as John Shand) to finance his education IF at the end of five years he marries Maggie if she is still single and willing. You see, Shand was a student who ran out of money and has been breaking into the Wylie home every night to read the books they have in their extensive library - and nothing else.
Shand agrees, but manages to waste the money, never gets his education, and the five years is up. A bargain is a bargain to a Scot, and although he wants to run for a seat in Parliament he decides to go for a job in the local foundry instead so he and the still unmarried Maggie can be wed. Maggie insists he go for the Parliament seat instead. He does and wins, due a great deal to Maggie's help.
Now Maggie very much knows that John does not love her, although she seems like she has loved him since he first stood up at a town meeting - prior to the burglary discovery - and insulted the entire town, AND her brother -something the all too outwardly passive Maggie seems itching to have done, but is glad to have John do it instead.
The complication in all of this is two crises collide. John (and Maggie) believe the nation's troubles can be averted by going off the gold standard, but John would have to threaten to resign his seat to make a meaningful stand, AND a beautiful woman of poise has actually captured John's heart - and Maggie knows about it. How does this work out? Watch and find out.
The funny part about all of this is how really clueless the men are in this film which is almost feminist in nature. Maggie's brothers are so concerned about her marital status when none of them are married themselves and are well into what was then called "old bachelorhood". To top it off all three are buffoons. Maggie seems to know this and loves them anyways. The same could be said of Shand, since Maggie is his strength and he seems blind to that, not that he treats her rudely.
I recommend this one. It is very quirky and fun for an early post production code film.
The story starts out with Maggie Wylie's (Helen Hayes') brothers pacing the floor worrying about what is to become of their baby sister given that she has reached the age of 27 and is unmarried with no prospects. They end up making a deal with a burglar (Aherne as John Shand) to finance his education IF at the end of five years he marries Maggie if she is still single and willing. You see, Shand was a student who ran out of money and has been breaking into the Wylie home every night to read the books they have in their extensive library - and nothing else.
Shand agrees, but manages to waste the money, never gets his education, and the five years is up. A bargain is a bargain to a Scot, and although he wants to run for a seat in Parliament he decides to go for a job in the local foundry instead so he and the still unmarried Maggie can be wed. Maggie insists he go for the Parliament seat instead. He does and wins, due a great deal to Maggie's help.
Now Maggie very much knows that John does not love her, although she seems like she has loved him since he first stood up at a town meeting - prior to the burglary discovery - and insulted the entire town, AND her brother -something the all too outwardly passive Maggie seems itching to have done, but is glad to have John do it instead.
The complication in all of this is two crises collide. John (and Maggie) believe the nation's troubles can be averted by going off the gold standard, but John would have to threaten to resign his seat to make a meaningful stand, AND a beautiful woman of poise has actually captured John's heart - and Maggie knows about it. How does this work out? Watch and find out.
The funny part about all of this is how really clueless the men are in this film which is almost feminist in nature. Maggie's brothers are so concerned about her marital status when none of them are married themselves and are well into what was then called "old bachelorhood". To top it off all three are buffoons. Maggie seems to know this and loves them anyways. The same could be said of Shand, since Maggie is his strength and he seems blind to that, not that he treats her rudely.
I recommend this one. It is very quirky and fun for an early post production code film.
A stage legend documents her classic role.
mark.waltz7 December 2016
Warning: Spoilers
Just on the verge of Broadway immortality playing Victoria Regina, the legendary Helen Hayes scored on film with the opportunity of repeating her nearly 10 year part of the feisty Scottish lass Maggie in the film version of this J.M. Barrie play. She had starred in a very successful revival of the 1908 play, and in doing this film, got the only time in her film career to repeat a stage role. TV would be kinder to her, but many of those performances are either lost or very difficult to find.
Her proud father Donald Crisp thinks that Hayes' Maggie is far too plain and feisty to get a man on her own, and sets her up with the rebellious Brian Aherne who is instantly taken with her in spite his commitment to the party he's involved in. Women were mostly seen but not heard during this time, but Maggie knows how to be heard without stepping on her man's toes. If there was a poster child for the "behind every man" theory, it would be Hayes' photo in the cliché book. The relationship is deliciously unconventional, which provides really subtle comedy while making some important statements about various issues.
If Hayes is plain, then I was living a previous life, seeing either the 20's revival or the 1950's revival that Hayes also started. Hayes is simply phenomenal, and it's a shame that among Garbo, Shearer, Loy or Crawford that her MGM contributions are totally overlooked. She's a natural, although its obvious that her calling was for the stage. Supporting Hayes, Aherne and Crisp are Dudley Digges, Elizabeth Allen and in her film debut, the always wonderful Lucille Watson.
Her proud father Donald Crisp thinks that Hayes' Maggie is far too plain and feisty to get a man on her own, and sets her up with the rebellious Brian Aherne who is instantly taken with her in spite his commitment to the party he's involved in. Women were mostly seen but not heard during this time, but Maggie knows how to be heard without stepping on her man's toes. If there was a poster child for the "behind every man" theory, it would be Hayes' photo in the cliché book. The relationship is deliciously unconventional, which provides really subtle comedy while making some important statements about various issues.
If Hayes is plain, then I was living a previous life, seeing either the 20's revival or the 1950's revival that Hayes also started. Hayes is simply phenomenal, and it's a shame that among Garbo, Shearer, Loy or Crawford that her MGM contributions are totally overlooked. She's a natural, although its obvious that her calling was for the stage. Supporting Hayes, Aherne and Crisp are Dudley Digges, Elizabeth Allen and in her film debut, the always wonderful Lucille Watson.
A pretty good film but it's annoying seeing Helen Hayes play a human doormat!
planktonrules16 February 2009
Warning: Spoilers
I have rather divided feelings about this film. While the acting is pretty good and lots of non-Scots put on very convincing accents (something quite rare in Hollywood during this era), but the main character is a bit annoying given our modern sensibilities. In essence, Helen Hayes plays a living and breathing doormat! The film begins with a father and his two sons lamenting that their spinster daughter/sister is too nice a person not to be married (though none of them are married either, this is never addressed in the film). So, it's up to them to figure out a way to marry her off to anyone! A bit later, hotheaded Brian Aherne is convinced to sign an agreement that he'll marry Helen after five years. In the interim, he's given money so that he can go to college. Given Aherne's ambition to make something of himself, he reluctantly agrees to marry the 26 year-old Helen (though she looked to be every bit of 34--which she was when she made this film).
Years pass and Aherne agrees to now fulfill his obligation. When he marries Helen, however, he's such a dunderhead that he doesn't notice that she's more than just a good wife but a darn fine woman. In fact, when Aherne runs for Parliament, it's mostly due to Helen's wisdom and guidance that he wins. But, being a futz, he not only thinks he's done it all on his own but soon starts to let his eyes wander. When he falls for some other lady, Helen enters martyr mode and the film begins to slip a bit. Given that she is a dandy lady and is clearly the brains behind the man, she is way too nice and is ready to release Aherne from the marriage. Sure, she schemes a bit to keep him, but not once does she become angry--as if she understands and accepts infidelity because "it's only plain old me". Her human doormat imitation isn't particularly endearing and when she takes him back in the end, I really wanted to slap them both--him for being a thoughtless pig and her for not standing up for herself. I suppose this is all a sad product of the times but this angle in the film disappointed me a bit. If I could re-write the film, I'd have him get hit by a bus or only be accepted back after a long period of self-flagellation!!
Years pass and Aherne agrees to now fulfill his obligation. When he marries Helen, however, he's such a dunderhead that he doesn't notice that she's more than just a good wife but a darn fine woman. In fact, when Aherne runs for Parliament, it's mostly due to Helen's wisdom and guidance that he wins. But, being a futz, he not only thinks he's done it all on his own but soon starts to let his eyes wander. When he falls for some other lady, Helen enters martyr mode and the film begins to slip a bit. Given that she is a dandy lady and is clearly the brains behind the man, she is way too nice and is ready to release Aherne from the marriage. Sure, she schemes a bit to keep him, but not once does she become angry--as if she understands and accepts infidelity because "it's only plain old me". Her human doormat imitation isn't particularly endearing and when she takes him back in the end, I really wanted to slap them both--him for being a thoughtless pig and her for not standing up for herself. I suppose this is all a sad product of the times but this angle in the film disappointed me a bit. If I could re-write the film, I'd have him get hit by a bus or only be accepted back after a long period of self-flagellation!!
Unexpected gem
PeterPangloss14 March 2006
Helen Hayes never had great success in the movies, but this is the best of her film performances that I've seen so far. Her Scottish accent is convincing, she's charming, and she conveys Maggie's underlying strength with great subtlety.
Brian Aherne is charismatic as the young politician Maggie is attracted to; he allows us to see through his egotism to the vulnerability and insecurity just below the surface.
The beautiful and talented Madge Evans is fine in the "other woman" role. Supporting stalwarts Lucile Watson, Donald Crisp, Dudley Digges, David Torrence, and Henry Stephenson are all well-cast, and turn in wonderful performances.
I had no idea what to expect from this film, but I found it highly enjoyable, with gentle humor, light drama, and romance that won't send your blood sugar into orbit.
Brian Aherne is charismatic as the young politician Maggie is attracted to; he allows us to see through his egotism to the vulnerability and insecurity just below the surface.
The beautiful and talented Madge Evans is fine in the "other woman" role. Supporting stalwarts Lucile Watson, Donald Crisp, Dudley Digges, David Torrence, and Henry Stephenson are all well-cast, and turn in wonderful performances.
I had no idea what to expect from this film, but I found it highly enjoyable, with gentle humor, light drama, and romance that won't send your blood sugar into orbit.
Odious message
gbill-748773 July 2020
The moral of this story originally from J.M. Barrie is supposed to be that what every woman knows is that a man only thinks he makes it to the top on his own, whereas she's always helping behind the scenes, which sounds sweet enough. However, the message that came across all these years later is pretty odious; it's that what every woman knows is her place, subordinate to a man in literally every respect.
God love Helen Hayes, she's so adorable and does everything she can here, but it's crazy just how much her character idolizes her husband (Brian Aherne) and stands by him even when he strays. He's only married her as part of a deal, you see, despite her clearly being beneath him and lacking in looks and charm (she herself says this several times, argh...!). What every woman knows, the film tells us, is that men are the driven ones in life, and if their passion also leads them to other women, well, you need to simply accept this and keep on loving them for the gods they are. Even the other woman (Madge Evans) acts ridiculously. Aside from everything else, I almost lost it when Aherne's character had the gall to pluck a cigarette out of Hayes's mouth after they were separated, without a peep from her or any real awareness on the part of the film.
It's really too bad too, because the pair made a cute couple, with him towering over her (6'2" and 5') and she in her little curls. The character of a common guy rising to be a Member of Parliament debating issues of class and things like the gold standard along with his plucky and intelligent wife could have been far more interesting and endearing. The film is not helped by the comic relief of her family either, including a clod of a brother, though the wise middle-aged woman (Lucile Watson) provides moments of relief. A star each for Hayes and Watson, and that's about it.
God love Helen Hayes, she's so adorable and does everything she can here, but it's crazy just how much her character idolizes her husband (Brian Aherne) and stands by him even when he strays. He's only married her as part of a deal, you see, despite her clearly being beneath him and lacking in looks and charm (she herself says this several times, argh...!). What every woman knows, the film tells us, is that men are the driven ones in life, and if their passion also leads them to other women, well, you need to simply accept this and keep on loving them for the gods they are. Even the other woman (Madge Evans) acts ridiculously. Aside from everything else, I almost lost it when Aherne's character had the gall to pluck a cigarette out of Hayes's mouth after they were separated, without a peep from her or any real awareness on the part of the film.
It's really too bad too, because the pair made a cute couple, with him towering over her (6'2" and 5') and she in her little curls. The character of a common guy rising to be a Member of Parliament debating issues of class and things like the gold standard along with his plucky and intelligent wife could have been far more interesting and endearing. The film is not helped by the comic relief of her family either, including a clod of a brother, though the wise middle-aged woman (Lucile Watson) provides moments of relief. A star each for Hayes and Watson, and that's about it.
Brilliant Casting and Direction
bruce-31613 March 2005
Brilliantly constructed movie and the casting is spot on. Intriguing plot - this movie is one that needs to be watched at least twice to pick up the details missed the first time around - maybe the Scottish accents need some adjusting to - If you know the perception of Scottish frugality (especially by those south of the border) the movie really has some hugely comical moments, such as the taxi scene, the newspaper that was never purchased and the expensive shawl moment. Helen Hayes plays the adoring wife of a young politician precisely and the plot has a very positive and surprising ending to what seems like an impossible situation. They just don't make 'em like this any more. I watched this movie for the first time this year (2005) and my only regret is not having seen it years ago - get a copy is my advice and enjoy!
Quaint but somewhat stifled by old-fashioned style...
Doylenf10 March 2005
HELEN HAYES indeed made a stage name for herself in this vehicle, but it's hard to see why in this film version of her stage success. BRIAN AHERNE does nicely as her somewhat stuffy husband, but all in all it's clearly aimed at pleasing the followers of Miss Hayes.
She photographs well as the supposedly plain heroine and her Scottish accent is never too jarring--and thankfully, she downplays a lot of her stage mannerisms with a style of acting more suited to the camera. But this tale of a little woman who is really the brains behind her non too bright politically minded husband, is a very modest effort from the pen of Sir James M. Barrie and there is no big payoff for anyone in the cast. Madge Evans has a rather thankless role as the other woman.
Donald Crisp and Lucille Watson have the most to do in supporting roles but have distinguished themselves elsewhere in better material.
Only interesting as an early Helen Hayes vehicle that seems more quaint than charming. As in most films of this period, there is almost no background music to give a lift to any of the stagebound scenes.
Trivia bit: Olivia de Havilland starred at the Westport Country Playhouse in this play--summer stock in 1946--and during the run of the play was married to first husband, writer Marcus Goodrich.
She photographs well as the supposedly plain heroine and her Scottish accent is never too jarring--and thankfully, she downplays a lot of her stage mannerisms with a style of acting more suited to the camera. But this tale of a little woman who is really the brains behind her non too bright politically minded husband, is a very modest effort from the pen of Sir James M. Barrie and there is no big payoff for anyone in the cast. Madge Evans has a rather thankless role as the other woman.
Donald Crisp and Lucille Watson have the most to do in supporting roles but have distinguished themselves elsewhere in better material.
Only interesting as an early Helen Hayes vehicle that seems more quaint than charming. As in most films of this period, there is almost no background music to give a lift to any of the stagebound scenes.
Trivia bit: Olivia de Havilland starred at the Westport Country Playhouse in this play--summer stock in 1946--and during the run of the play was married to first husband, writer Marcus Goodrich.
Here's a movie to pluck from obscurity. See it twice.
olive-2411 March 2006
Splendid fare! Delicious dialogue! Pay no heed to comments from twerps with attention deficit disorder, this is a fine and engrossing story, a story for grownups and definitely not a victim of old-fashioned techniques. The only thing "old-fashioned" about this movie is the wealth of interesting, true to life characters down to the last bit player. Helen Hayes is a joy and Lucile Watson perfection, as usual. Brian Aherne as the golden boy is looking tall and handsome, his Scottish accent so unforced that I was surprised to realize it was indeed Brian Aherne. This movie, playing in another room of the house, pulled me in and sat me down. I knew it must have been adapted from a stage play, but couldn't guess the playwright. Ah, Mr. Barrie, thank you for this entertaining, feminist movie -- feminist in the true, classic (non Feminazi) sense of the word.
Maude Adams original Maggie.
gkeith_131 May 2012
Warning: Spoilers
Maude Adams first played Maggie on stage, in America, predating Helen Hayes. It is said that Helen Hayes was a continuation of Maude Adams. Maude also played another Barrie heroine, Lady Babbie in The Little Minister. She also played Peter Pan. That said, Helen was great as Maggie Wylie Shand. Helen (Maggie) wrapped the dopey John Shand (Brian Aherne) around her little finger. Not only that, she was idol worshipped by her father and brothers. Maggie was a genteel lady (in the old-fashioned sense of the word), thought of herself as plain, and generally resigned herself to a lifetime of boredom and invisibility. Her family were apparently a bunch of ignorant, illiterate fools (at least according to burglar John Shand who "borrowed the books"). Maggie was not as dumb as people thought. Who'da thought it? She could knit with 3 (maybe 4?) needles. Later on, as the supposedly dumb-cluck wife of John, she engineered a way to cleverly make John drop his other-woman fling and come back to her (Maggie). Be it remembered that writers are told to write about what or whom they know. In this case, Sir James Matthew Barrie named Maggie after his mother Margaret, James Wylie after himself, and David Wylie after his deceased brother. In Barrie's play The Little Minister, also starring Maude Adams (and made into a movie starring Katharine Hepburn), Margaret Dishart (mother of Gavin Dishart) was again named after his mother.
Brian Aherne was one hot hunk, even though he played an aloof, loudmouthed, uncaring, anti-communist politician in this movie. As a husband, he (John Stand) was about as exciting as a piece of toast. In the beginning of the movie, he was a ministerial student in Scotland, leading me to think directly of The Little Minister. When he made it to Parliament in London, his loudmouthed public speaking abilities quickly made him well known among the usual stuffed shirts.
Brian Aherne was one hot hunk, even though he played an aloof, loudmouthed, uncaring, anti-communist politician in this movie. As a husband, he (John Stand) was about as exciting as a piece of toast. In the beginning of the movie, he was a ministerial student in Scotland, leading me to think directly of The Little Minister. When he made it to Parliament in London, his loudmouthed public speaking abilities quickly made him well known among the usual stuffed shirts.
Very funny and clever
HotToastyRag6 July 2020
In this unusual comedy, Helen Hayes (reprising her Broadway role) plays an old maid who takes care of everyone in her family. She's a running joke to never get married, and Dudley Digges, Donald Crisp, and David Torrence ridicule her. When a young, handsome newcomer arrives in town, he immediately gets invited over for dinner, with hopes by her brothers that he'll marry the spinster. Helen is taken with him, but what does she have to offer? Her brains and her money. He's an ambitious fellow, but she's got what it takes to be the woman behind the man. So, she makes him an offer of marriage in exchange for a humungous dowry and strategy for his career.
Why would she do all this? Because he's Brian Aherne! Six feet, four inches of ridiculously handsome, Irish, curly-haired, passionately tempered Brian Aherne! Brian has to think about her offer, and since Helen is smarter than him, she lays out her argument in such a subtly cunning way, he eventually sees the wisdom in it.
This is a very clever, timeless movie. It's funny and smart, and as the title implies, will make every woman in the audience chuckle. Brian may be gorgeous, but he's not too bright. Helen knows how to get around him, and she's perfectly willing to teach the audience, too!
Why would she do all this? Because he's Brian Aherne! Six feet, four inches of ridiculously handsome, Irish, curly-haired, passionately tempered Brian Aherne! Brian has to think about her offer, and since Helen is smarter than him, she lays out her argument in such a subtly cunning way, he eventually sees the wisdom in it.
This is a very clever, timeless movie. It's funny and smart, and as the title implies, will make every woman in the audience chuckle. Brian may be gorgeous, but he's not too bright. Helen knows how to get around him, and she's perfectly willing to teach the audience, too!
Yes 10/10
pharmacon9025 November 2019
I am so glad that Lucile Watson had good amount of airtime, since she is the reason I watched the movie. I must say, I was pleasantly surprised to find such amazing actors playing such interesting roles. Brian Aherne, wow what a great performance, Helen Hayes is so likable. I will treasure this movie!
Wonderful comedy drama with well-known cast of the past
SimonJack17 March 2022
"What Every Woman Knows" is a wonderful comedy and drama based on a play of the same title by J. M. Barrie. Helen Hayes was just two year off of winning the best actress Oscar for her role in the 1931 drama, "The Sin of Madelon Claudet," and Brian Aherne was in his twelfth consecutive leading role dating back to the silent era and since his only non-leading first film in 1924.
MGM pulled together a cast from across the United Kingdom and Ireland for this film. Besides actors from Ireland, Scotland, Wales and England, supporting cast members were born in Australia, Canada, New Zealand, and the British West Indies. Among the most familiar to long-time movie fans will be Lucile Watson as the Contessa, Henry Stephenson as Charles Venables, Donald Crisp as David Wylie and David Torrence as Alick Wylie. Madge Evans, as Lady Sybil, is the only American in cast list.
All give good performances. Torrence and Crisp as Maggie Wylie's brother and father, are very good, and Lucile Watson is humorous and good as La Contessa la Brierre. Aherne gives a good take as an outspoken John Shand who puts on airs as he makes something of himself, "by himself," he thinks for a while. But this is a movie that Helen Hayes excels in as Maggie Wylie. And, she plays the part of Maggie Wylie superbly - as the plain, wise and clever, caring and loving, and honest and humble sister and wife.
I recall an old saying from way back when, that behind every successful man is a surprised woman. There have been less humorous versions of this - of great women behind great men. Well, Maggie Wylie in this film lives and shows an example of that general truism.
Here are some favorite lines from this film.
Alick Wylie, "What is charm, exactly, Maggie?" Maggie Wylie, "Oh, it's, it's a sort of bloom on a woman. If you have it you don't need anything else. And if you don/t have it, it doesn't much matter what else you have. Some women - a few, have charm for all, and most have charm for one, and some have charm for none."
James Wylie, "What you need, John Shand, is a clout in the head."
David Wylie, "Are you takin' the book to your bed, Maggie?" Maggie, 'Yes. I don't want hm to be knowin' things I don't know myself."
Charles Venable, "Countess, it has been marvelous seeing you again - positively marvelous." La Contessa la Brierre, "Thirty years and he hasn't stopped lying."
Countess, "He can't be worthy of you. No man could. Why do you do it?" Maggie Wylie, as Mrs. John Shand, "I'm six years older than he is. I'm plain and I have no charm. I shouldn't have let him marry me. I'm trying to make up for it."
Lady Sybil Tenterden, "Countess, uh, do leave us, won't you?" Countess, "Not I - far too interesting."
Maggie Wylie, as John's wife, "It's nothing unusual I've done, John. Every man who is high up loves to think he's done it all himself. Every woman knows that. It's our only due."
Maggie Wylie, {Oh, John, if I could only make you laugh."
MGM pulled together a cast from across the United Kingdom and Ireland for this film. Besides actors from Ireland, Scotland, Wales and England, supporting cast members were born in Australia, Canada, New Zealand, and the British West Indies. Among the most familiar to long-time movie fans will be Lucile Watson as the Contessa, Henry Stephenson as Charles Venables, Donald Crisp as David Wylie and David Torrence as Alick Wylie. Madge Evans, as Lady Sybil, is the only American in cast list.
All give good performances. Torrence and Crisp as Maggie Wylie's brother and father, are very good, and Lucile Watson is humorous and good as La Contessa la Brierre. Aherne gives a good take as an outspoken John Shand who puts on airs as he makes something of himself, "by himself," he thinks for a while. But this is a movie that Helen Hayes excels in as Maggie Wylie. And, she plays the part of Maggie Wylie superbly - as the plain, wise and clever, caring and loving, and honest and humble sister and wife.
I recall an old saying from way back when, that behind every successful man is a surprised woman. There have been less humorous versions of this - of great women behind great men. Well, Maggie Wylie in this film lives and shows an example of that general truism.
Here are some favorite lines from this film.
Alick Wylie, "What is charm, exactly, Maggie?" Maggie Wylie, "Oh, it's, it's a sort of bloom on a woman. If you have it you don't need anything else. And if you don/t have it, it doesn't much matter what else you have. Some women - a few, have charm for all, and most have charm for one, and some have charm for none."
James Wylie, "What you need, John Shand, is a clout in the head."
David Wylie, "Are you takin' the book to your bed, Maggie?" Maggie, 'Yes. I don't want hm to be knowin' things I don't know myself."
Charles Venable, "Countess, it has been marvelous seeing you again - positively marvelous." La Contessa la Brierre, "Thirty years and he hasn't stopped lying."
Countess, "He can't be worthy of you. No man could. Why do you do it?" Maggie Wylie, as Mrs. John Shand, "I'm six years older than he is. I'm plain and I have no charm. I shouldn't have let him marry me. I'm trying to make up for it."
Lady Sybil Tenterden, "Countess, uh, do leave us, won't you?" Countess, "Not I - far too interesting."
Maggie Wylie, as John's wife, "It's nothing unusual I've done, John. Every man who is high up loves to think he's done it all himself. Every woman knows that. It's our only due."
Maggie Wylie, {Oh, John, if I could only make you laugh."
Knowledge is power
jarrodmcdonald-118 June 2022
Warning: Spoilers
We are told right away that this adaptation of J. M. Barrie's hit play takes place in Scotland, though the filmmakers use shots of the Pacific Ocean along the California coast to suggest this. Most of the actors affect a Scottish brogue, especially American actress Helen Hayes who lays it on a bit thick in some of her scenes. One supporting cast member (Madge Evans) does not use an accent, but then she is playing the niece of a French countess. So I guess if she had been educated abroad, then it is plausible for her to sound continental.
The story revolves around Hayes, playing the titular woman who knows what the rest of her species knows. In the beginning her father (David Torrence) and brothers (Dudley Digges and Donald Crisp) worry about her marriageability- yes, that's a word- because she's just been jilted again. The male relatives are fiercely protective of this wee lass...but while she catches bouquets quite easily, catching a man is not altogether easy for her. The poor thing seems to lack charm, but she makes up for this deficiency in other deportments, like intelligence and cunning.
The premise is stereotypical in that a female is supposed to spend her life devoted to a man, specifically a husband. However, we do get a sense that Hayes' character has her own individual self worth. Introduced into this environment is a political radical (Brian Aherne) who's accused of communism but insists he's a collectivist.
During a rally involving Crisp's character, Aherne makes a public spectacle of himself by interrupting an important speech and quoting world leaders the locals don't know much about. The result is that he's garnered the attention of Hayes and her family. That night Aherne breaks into their home to read a few books, something he's apparently done before!
He's a poor scholar in need of materials. The brothers and father conspire to strike a bargain with the academic interloper. They will sponsor Aherne's education on the condition that he marry Hayes in five years. Aherne agrees to the deal, and Hayes doesn't have much input.
While this isn't quite an indecent proposal, it's hardly an ordinary one. As far as dramatic set-ups go, it's both cute and intriguing. The agreement is made legal, and the two "lovebirds" become better acquainted with each other. Of course, their unusual courtship will not occur without additional issues.
Five years later, the wedding is finally being planned when Aherne is given the chance to run for parliament. Hayes postpones the marriage, extending her option on him, so that he may campaign and get elected. After Aherne is elected, the two do marry. The story is predictable in spots, but what works is their growing belief in one another as individuals. A good foundation for a strong union.
Besides these career issues, there is a personal issue that also occurs. A single woman (Evans) who is more sophisticated than Hayes, befriends Aherne. She and her wealthy French auntie (Lucile Watson) have considerable resources and connections that can help Aherne in office. Soon Aherne falls for Evans, which threatens his marriage to Hayes. What will happen next?
Well, we know what every woman knows in these patriarchal, somewhat chauvinistic situations- that a good wife advocates behind the scenes to ensure the success of her husband. She is not necessarily Lady Macbeth, but she understands that his success is ultimately her own success.
The story revolves around Hayes, playing the titular woman who knows what the rest of her species knows. In the beginning her father (David Torrence) and brothers (Dudley Digges and Donald Crisp) worry about her marriageability- yes, that's a word- because she's just been jilted again. The male relatives are fiercely protective of this wee lass...but while she catches bouquets quite easily, catching a man is not altogether easy for her. The poor thing seems to lack charm, but she makes up for this deficiency in other deportments, like intelligence and cunning.
The premise is stereotypical in that a female is supposed to spend her life devoted to a man, specifically a husband. However, we do get a sense that Hayes' character has her own individual self worth. Introduced into this environment is a political radical (Brian Aherne) who's accused of communism but insists he's a collectivist.
During a rally involving Crisp's character, Aherne makes a public spectacle of himself by interrupting an important speech and quoting world leaders the locals don't know much about. The result is that he's garnered the attention of Hayes and her family. That night Aherne breaks into their home to read a few books, something he's apparently done before!
He's a poor scholar in need of materials. The brothers and father conspire to strike a bargain with the academic interloper. They will sponsor Aherne's education on the condition that he marry Hayes in five years. Aherne agrees to the deal, and Hayes doesn't have much input.
While this isn't quite an indecent proposal, it's hardly an ordinary one. As far as dramatic set-ups go, it's both cute and intriguing. The agreement is made legal, and the two "lovebirds" become better acquainted with each other. Of course, their unusual courtship will not occur without additional issues.
Five years later, the wedding is finally being planned when Aherne is given the chance to run for parliament. Hayes postpones the marriage, extending her option on him, so that he may campaign and get elected. After Aherne is elected, the two do marry. The story is predictable in spots, but what works is their growing belief in one another as individuals. A good foundation for a strong union.
Besides these career issues, there is a personal issue that also occurs. A single woman (Evans) who is more sophisticated than Hayes, befriends Aherne. She and her wealthy French auntie (Lucile Watson) have considerable resources and connections that can help Aherne in office. Soon Aherne falls for Evans, which threatens his marriage to Hayes. What will happen next?
Well, we know what every woman knows in these patriarchal, somewhat chauvinistic situations- that a good wife advocates behind the scenes to ensure the success of her husband. She is not necessarily Lady Macbeth, but she understands that his success is ultimately her own success.
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