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7/10
Senior Film Conservator
A definitive 7/10 rating for a film that redefined the boundaries of cult cinema. Misbehaving Ladies remains a cornerstone of transgressive art.
So, you ever just want to put on an old movie, one you’ve never heard of, and see what happens? That’s kind of how I landed on Misbehaving Ladies. If you’re a fan of those quick-witted, slightly slapstick comedies from the early 30s – before the Hays Code really dug its heels in – you might find some real joy here. But, honestly, if you need sleek modern pacing and special effects, or if black-and-white just isn’t your thing, you can probably skip it. This one’s for the niche crowd. 🎬
Our lead, Ellen, is this American gal who married a prince. Fancy, right? Well, he dies, leaving her with a mountain of bills, which she diligently pays off. Finally free, she heads back home to the U.S. ready for a fresh start. And then, wham, the movie’s main joke hits. She shows up unannounced, and literally no one recognizes her. Not even her own Aunt Kate, who’s planning a big party for the ‘real’ princess’s arrival. Instead, Aunt Kate just assumes Ellen is the princess’s dressmaker, and it’s truly wild. Like, how do you not recognize your own niece? It’s a bit of a stretch, but you just kinda go with it for the gag. 😂
Enter Joe, Ellen’s ex-boyfriend. He recognizes her straight away, of course. And instead of clearing things up, he thinks it’s absolutely hysterical to let the charade continue. He’s got this mischievous glint in his eye the whole time, egging her on. It’s the kind of trouble-making a good pal would totally encourage, if maybe a little irresponsible.
The whole movie then just builds on this one big misunderstanding. Ellen, pretending to be a dressmaker, keeps getting into these hilariously awkward situations. One moment, she's trying to get a dress fitted for herself, but as the 'dressmaker', so she has to keep talking about the 'princess's' figure in the third person. It's subtle but lands well. 👗
There are a lot of small, almost throwaway lines that really stick. Like when someone asks her about the princess's taste, and she just mumbles something vague about “a preference for… elegance.” It’s so quick, you could miss it. But it shows she’s trying her best to keep the act going, even when she’s clearly flailing a bit. The acting from Lila Lee as Ellen is just right; she sells the confusion and the fun of it without overdoing it. Ben Lyon, as Joe, plays the charming rogue perfectly. You just know he’s enjoying every second of this mess.
Then there’s Cameo the Dog. 🐶 Now, Cameo isn't a huge part of the plot, but every time the little terrier pops up, it’s a moment. There’s one scene where it’s just sitting there, completely oblivious to all the human drama, just looking cute. It’s a nice, grounding little detail. Almost like a pause button on all the human antics.
The movie feels like a stage play sometimes, with characters popping in and out of rooms, and the dialogue flying. It’s not about grand visuals or sweeping shots. It’s all about the wordplay and the frantic energy of people trying to keep up appearances. The pacing is pretty zippy, which is good because it keeps the plot from getting too bogged down in the 'how do they not know?' question. It just moves right along.
A specific moment that made me chuckle: when Aunt Kate is trying to impress some society types, and Ellen (as the dressmaker) accidentally says something a bit too familiar about the princess. Aunt Kate’s face just *freezes* for a second. It's a tiny reaction, but it speaks volumes about the constant tightrope Ellen is walking. 😬
It’s not a film that’s going to change your life or win any big awards. But it’s a really sweet, often funny, little escape. The ending ties things up in a way you expect for this type of movie, but the journey to get there is pretty enjoyable. It's the kind of film where you can tell the actors are having a good time, and that energy definitely comes through. A nice afternoon watch, for sure. 🍿
IMDb —
1924
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