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6.7/10
Senior Film Conservator
A definitive 6.7/10 rating for a film that redefined the boundaries of cult cinema. Private Lives remains a cornerstone of transgressive art.
"Private Lives" (1931) is a real blast from the past, but maybe not for everyone. If you’re a fan of those super fast, kinda chaotic screwball comedies from the pre-Code era, where folks are just wildly dramatic and witty, then yeah, this one’s probably worth a look. It’s got that specific energy. But if you’re hoping for a sweet, simple romance or if characters who can’t make up their minds drive you nuts, then honestly, you might find it a bit much. It’s definitely not for viewers who prefer their old movies gentle. 😅
The premise itself is pure Noël Coward mischief. Two people, Amanda and Elyot, divorced from each other, end up on their honeymoons with new partners, in adjoining rooms at the same hotel. What are the odds? It feels so stagey, which, of course, it is. The movie doesn’t even try to make it feel real, which I kind of appreciate. It just *is*.
Norma Shearer as Amanda is... a lot. She's all high drama and quick wit, often at the same time. You see her storming around, then suddenly laughing. Her energy is exhausting, but also kinda magnetic. Robert Montgomery plays Elyot, her ex. He's got that suave, slightly arrogant vibe down cold. You can see why they both loved and hated each other so much.
The way they bicker, especially early on when they first spot each other across the balcony, it's just so them. They practically _sparkle_ with mutual annoyance and attraction. There's this scene where they're talking on the balcony, and the camera just holds on them. The moonlight, the sound of the waves. It's meant to be romantic, sure, but it's also tense. You just know they're going to do something impulsive. And they do. They run off together. Leaving their new, perfectly nice, completely bewildered spouses behind. 🤷♀️
Those new spouses, Victor and Sibyl, are portrayed by Reginald Denny and Una Merkel. They're the 'normal' ones, the casualties of Amanda and Elyot's chaos. Una Merkel, in particular, gets some great moments of wide-eyed confusion and growing fury. She's the audience's stand-in, really. "What are these people doing?" you think, right along with her.
The whole middle section, once Amanda and Elyot are shacked up in Paris, is where the movie really lives or dies for you. It's just them, in an apartment, arguing. And arguing. And making up. And arguing again. Sometimes it's brilliantly funny, like when they're tossing cushions around or having a playful little dance that turns sour. Other times, it's genuinely uncomfortable. You just want to shake them both. *They can't live with each other, but they can't live without each other.* Classic.
One small detail I kept noticing: the way Norma Shearer would just _stop_ mid-sentence sometimes, a tiny pause, before delivering a killer line. Like she was thinking, "Yep, this is going to sting." It's subtle, but it makes her character feel so sharp. And the fashion! Norma Shearer’s outfits are just gorgeous, even when she’s throwing a fit. There’s a particular dress she wears in the Paris apartment, all slinky and elegant, that just screams "glamorous chaos."
The dialogue is just ping-pong. Fast. Witty. Sometimes the lines overlap a little, which gives it this frantic energy. It's not always easy to follow every single jab, but the overall feeling is clear: these two are in a constant battle of wits, even when they're supposed to be in love. The way the sound design is used in that apartment scene, too. The silence after a big fight, then a little clink of a glass. It really highlights how much tension is in that small space. 😬
Then Victor and Sibyl show up, and things get even more tangled. It turns into this weird, double-date-turned-fiasco. Everyone's shouting, everyone's offended. It's messy. The ending, without giving too much away, it's... ambiguous. It doesn't wrap things up neatly. Which, actually, feels right for these characters. They're never going to be neat.
It's a very specific kind of movie. It feels like a filmed play, obviously. The sets are minimal, the focus is almost entirely on the rapid-fire dialogue and the chemistry (or anti-chemistry) between the leads. If you're looking for sweeping visuals or a grand plot, you'll be disappointed. This is a chamber piece, loud and often irritating, but also kinda exhilarating. It’s a snapshot of a certain kind of pre-Code freedom, where characters could be selfish and flighty without being completely condemned. You just don't see characters quite this *unapologetically* self-absorbed anymore. Maybe it's refreshing, maybe it's annoying. Depends on your mood, I guess. 🤔
If you're curious about other wild romances from that era, check out Passion Flower or even Midnight Follies for a different flavor of drama.
IMDb —
1918
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