I couldn't agree more. I thought Monte Blue's mannerisms and facial expressions were on cue and comedically effective, almost reminiscent of the screwball kind Cary Grant would come to use from the late 30s on. If anything, I just thought what if Beranger's character had left and then reentered the home of Miller/Blue the night of the Ball dressed as the sheik. I felt that was a missed opportunity for some laughs since Miller's character was established as being infatuated with being swept off her feet by a sheik of her own. That may have played better rather than having him enter as he was which repulsed her, but just the same, it was a rather effective scene regardless, even if his repeated farewell kisses made me increasingly uncomfortable. If he had played that off as his sheik get-up, I believe it would have been all the more hilarious, and also driven home how immersed in infidelity the doctor's wife was. But Lubitsch manages to keep your attention with little subtle comedic moments that compensate for anything like that. The way he brings it full circle with the moral lesson at the end was a lovely touch.Trueblood wrote: ↑Mon May 10, 2021 1:22 pmI actually LOVED Monte Blue's performance. I found him hilarious and just as effective as he was two years earlier in Lubitsch's THE MARRIAGE CIRCLE where he also played a "straying" physician. I've always had a crush on Patsy Ruth Miller. She, Lilyan Tashman, and Andre Beranger were all fabulous. I'll have to watch again (and again) to catch Myrna Loy and to enjoy the connections my brain makes with THE MARRIAGE CIRCLE, ONE NIGHT WITH YOU, and, strangely, LADY WINDERMERE'S FAN. Plus, the shots of the street which separates the two couples' abodes can't help but bring to mind the street separating Rollo Treadway and Betsy O'Brien in THE NAVIGATOR.
David
Robert Osborne would have been so proud to see this happen.
) to use with all those mute silents that so many of us have in our collections.
