It's a serious problem for a lady with the hiccups, and he is it!
A happily married woman sees a psychoanalyst and develops doubts about her husband.
A happily married woman sees a psychoanalyst and develops doubts about her husband.
Lo que piensan las mujeres
this is very all over the place, and in some ways that’s bad, but in others it’s kind of...good?
I went into this for merle oberon and melvyn douglas, but actually came out of it liking burgess meredith’s character the most, which is kind of bizarre because you can tell he’s written to be unlikable, but his nihilistic apathy that probably wouldn’t have been appealing when this was released is actually spot on millennial humor? I loved it.
the film is by no means perfect, but there are so many scenes where you can feel the Lubitsch Touch™ working its magic that you kind of have no other choice but to forget about the hiccups and give in to the madness.
Sure, this may not be Lubitsch’s best, but it’s still very charming and funny. The Lubitsch touch is certainly present in here, and the part where they’re trying to stage an argument but their “lines” are so stilted and Merle Oberon keeps forgetting hers had me dying. Melvyn Douglas is such an adept comedic leading man and I cannot wait to watch more of his filmography!
First and most importantly: please don’t turn this off during the first Burgess Meredith scene. I know it’s teeth-grindingly annoying, but I promise things get better almost immediately afterward — just give it another minute or two.
Now that that’s out of the way: there’s a strange sedateness to Lubtisch’s most farcical films, a quality that’s fully embodied by That Uncertain Feeling. He loves to not following his couples with the camera, making us imagine the canoodling that’s no doubt happening offscreen rather than showing it, and he often builds to farce through the most banal of conversations. Here, then, we have mysterious and detailed discussion of what 12:15 really means, an offensive vase, and consideration of appropriate behavior from a…
I went back and forth on this movie so many times when watching it. Then, I finally just had to buy into the chaos. Everyone is the butt of the joke, no one is safe from acting like a fool. It's anarchy, it's nihilistic, which is a little ironic seeing that one of the characters reminded me a lot of those guys who decide having no political views and instead being entirely apathetic is the same as having an interesting personality. Plus you've got a flighty wife who would honestly be fine if she could just get some part-time work or a vocation (could this be a subtle commentary on traditional gender roles and how they affect and even worsen…
You know, looking at this (and even Madame Satan, as far back as 1929), it doesn't seem like "the problem without a name" was a big dark secret that nobody ever addressed until Betty Friedan wrote about it. Of course, I don't see these movies offering any solution more insightful than "... so deal with it, cuz that's all you get."
Psychoanalysis, modern art, an Oscar Levant knock-off to personify 'neurotic artist free-spirit' -- Lubitsch' humor shines through, but the substance of this feels kinda stale and post-code. Just enough to notice.
Part of my 5 Directors x 5 Unseen Films (12) challenge.
Based upon an 1880 French play entitled "Divorçons" by Victorien Sardou and Émile de Najac, this romantic comedy from director Ernst Lubitsch is somewhat reminiscent of Shakespeare's "Taming of the Shrew," including misogynistic elements. To start off, we learn that although New York newspapers are fond of labeling Jill and Larry Baker (Merle Oberon & Melvyn Douglas) the city's "happiest couple," there's a lot to be desired in their six-year marriage, including better communication.
On the advice of friends, Jill visits psychoanalyst Dr. Vengard (Alan Mowbray) with regard to her intermittent hiccups, and he pins the cause on her problematic marital relationship. Once he plants that seed of doubt, she…
I find these movies both hilarious and frustrating. There's several laugh out loud moments, but then the overall situation is maddening.
A stunning Merle Oberon is married to insurance salesman Melvyn Douglas, though he is a very Park Avenue upscale insurance salesman. She starts to feel a bit bored and meets a musician, a very young Burgess Meredith. He introduces her to modern art and classical music. She has an affair with the pianist, her husband finds out and wants her back. He goes the round-about way of doing it. Like I said, funny situations, ridiculous actions.
Lubitsch certainly has a way of presenting adult situations with a wink. I like that. He doesn't rub your nose in it, but for those with eyes to see...
love me some mid-divorce flirting and poorly staged fights
If Melvyn Douglas had treated Merle Oberon like an equal partner instead of a trophy wife, this movie might never have happened.
"And the hiccups never came back"
The infamous Lubitsch touch seems a little out of touch for this mildly amusing but relatively innocuous entry in his CV, despite the best efforts of the three leads.
i really need to watch everything lubitsch directed!!!! he can make me laugh at some old school conventions unlike any other director. truly a master we don't talk enough about!
Regarded as a lesser Lubitsch, I liked this film better than I thought I would. The weakest link for me was Burgess Meredith. I don't really like him as an actor, and his character is so unlikeable and annoying that it makes the plot rather unbelievable. Can't imagine Oberon falling for such an unbearable guy, even if she would be bored out of her mind. I did enjoy the performances of Oberon and Douglas and their scenes together. But the whole film is a bit tame, and even Eve Arden didn't get to show her usual spunk.
was Lubitsch having a bad day when he made this film?
A comedy of remarriage needs a more convincing threat to connubial happiness than Burgess Meredith - perhaps a male equivalent of Eve Arden. All Melvyn Douglas has to do is stop prodding his wife in the ribs and wait for her to realise that new guy's an insufferable jerk. There's nothing at stake and hence no need to recast the relationship into one based on mutual affection and respect. The hiccups are simply vanquished by exposure to the greater evil - an artistic temperament. But minor, mildly conservative Lubitsch is still Lubitsch, so no phooey from me.
Lo que más me ha sorprendido de esta película no ha sido su humor, que lo tiene, sino las escenas feministas inesperadas debido al época.
Indecisión, miedo, amor, feminismo, comedia elegante y buenas interpretaciones.
I kept losing interest, which was more a reflection of my mood than the movie. Melvyn Douglas, Merle Oberon and Burgess Meredith are all good, and the story works, but felt lightweight. Also, the print on Prime is not great.
I know a lot of people aren’t fans but I really enjoyed this. Yeah it’s not as electrically compiled, naughty, or laugh out loud funny as other Lubitsch, but I found it super charming.
The one thing I did find hilarious was the satire of ultra-nihilism filtered through a pretentious pianist. Far from my favorite of his work, but if I’m ever doing a Lubitsch retrospective I will not be upset about taking another look at this.
“What I’m trying to do is to introduce you to your inner self. Wouldn’t you like to meet you?”
“No. You see, I’m a little shy.”
Really enjoyed this. Penelope Fitzgerald remarked in some essay or review on the pleasure of hearing characters speak like people who have their wits about them. Everyone in this movie is a wit, each in his or her specific way. That’s fatal to realism, maybe even to the sense of humanity. But who cares?
Merle Oberon was new to me, and a delight, summoning Julia Louis-Dreyfus levels of comic insincerity. The movie loses some interest when she’s kicked out of the driver’s seat, and you can feel a necessary caution impinging on the artistry: it should have ended happily with her a single woman. Oh well.
Pairs weirdly well with THE LIGHTHOUSE.
this film had me dying; every exchange is snappy and full of charm. every character is likable in the best way possible. even tho they're portrayed as their worst version of themselves, i found it soothing that these characters reflect my personal nihilism. haven't watched a lot of Ernst Lubitsch yet, but from the few that i've watched, his work really piqued my fascination. maybe the reason why letterboxd users hate this film is cuz the story is about shitting on a pretentious artsy-fartsy character whilst favoring the boring insurance man. dunno, i just really enjoyed this. maybe it's the Lubitsch touch?
The outward concept of Ernst Lubitsch's That Uncertain Feeling is just plain daffy bordering on twee: suffering from a stale marriage, a concerned housewife seeks a shrink when she develops a mysterious and unrelenting case of the hiccups. What quickly presents itself, however, is decidedly much meatier. Mrs. Jill Baker, of "The Happy Bakers" – as the social column calls them – raises a normal doubt in her marriage, one where she is devoid of much freedom to find herself as a person. She can't even find much romance in her husband to help fulfill her, as her efforts aren't typically acknowledged and her and the poor man can only gather enough emotional wherewithal to know that he likes to…
Oof, I wasn't a fan. The film doesn't have a good hook, unlike the other superior Lubitschs I've seen - a failing marriage and love triangle are so.... typical and unspecial, especially handled in this pedestrian manner. Compare with the "gentlemen's agreement" of Design for Living, the spunky plumbing enthusiast female protagonist of Cluny Brown or the pen-pals-who-loathe-each-other-irl of The Shop Around the Corner. The bigger, more frustrating problem for me is the non-development of the main trio; nobody really has an arc, much less a satisfying one. The characters aren't interesting or all that likeable in the first place. There are clever lines and jokes of course, and the film is never difficult to sit through, but coming from Lubitsch this is a letdown.
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