This Movie Can Only Be Described With One Word.

Lack of good storyline.

It's a mild crowd pleaser for people who are exhausted by blockbusters.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Sherry Warren (Robert Montgomery) has never been one for marriage or dating only one woman. His reputation is well known, but his charm brings women flocking to him. One such woman is Marcia Townsend (Joan Crawford), a beautiful socialite who keeps company with Sherry knowing full-well the kind of man he is. But she can't help but love him. Finally, their relationship culminates into marriage, and the two prepare to live happily ever after. That is, until Sherry steals his best friend's girl (Gail Patrick), a showgirl in the city. When Marcia finds out, she is disappointed and heartbroken, but her retaliation isn't divorce. Instead, she throws a party for Sherry with some of the ladies of his past and their scorned husbands (Franchot Tone).Filled with witty dialog and talented stars, No More Ladies is a purely entertaining film. It perfectly represents the class and mischief that blended so well during the 1930s. This film managed to get past the censors with topics like adultery and scenes like that of Crawford in her underwear. However, the wealthy characters exude sophistication, so their naughtiness is easily forgiven. After all, "Since when has a lady in bed been an object of repugnance?"

MGM gloss is evident in every Joan Crawford close-up. As a matter of fact, it's evident in the loving way Robert Montgomery and Franchot Tone have also been given handsome close-ups. But the big scene-stealer here is the lady who gets the best lines and the least flattering close-ups: Edna May Oliver.As a silver-haired dowager who enjoys putting stuffy society swells in their place with a tart remark, she's a welcome presence in a film with a plot so ordinary that it was hardly worth bothering about. You can sit through the whole film admiring the costumes Joan Crawford wears with her special flair for looking like a well-dressed mannequin, her marble face with those high cheekbones and huge eyes assuring us that she is the STAR of this tiresome nonsense, but your eyes will stray to Edna May whenever she takes hold of a scene. Thankfully, that's pretty often.When a baby-talking house guest calls someone "Peggy Weggy" she turns to Oliver who is supposed to introduce herself as Crawford's aunt. Missing hardly a beat, Oliver quips: "Just call me Fanny Aunty".Is this the same playwright who later wrote THE PHILADELPHIA STORY for Hepburn? The plot is simply boy loves girl, boy loses girl, boy loves girl in a nutshell. There are a few pleasant moments with Charlie Ruggles and Gail Patrick--and if you don't blink--Joan Fontaine makes a fleeting appearance with a pained expression on her face. Hardly an inspiring debut.Typical of the kind of fluff that began harming careers back in the 1930s. You can afford to miss it, believe me.

Just saw this little known gem on AMC, and I rather liked it. Yes, the dialogue was often banal.And yes, Joan's eyebrows are scaryBut overall, it's fun and light. I was laughing out loud, and I think you will be too. And I always wonder when seeing a movie like this - did anyone ever really live that way? The ending is a little odd.But Franchot Tone as Cousin Drunky and Edna Mae Oliver as Grandma Sarcasmo just steal the show.Arthur Treacher as the befuddled Brit is also quite clever.

For sporadic moments of amusement "No More Ladies" is perfectly satisfactory. It has the MGM lusciousness and gleam that the other studios envied. Note the great looking costumes on Joan Crawford, Joan Fontaine, and Gail Patrick wear. The sophistication is showed by the ho-ho-ho jokes that are dropped by the likes of Crawford, Robert Montgomery, Franchot Tone, and Edna Mae Oliver. This is the type of film that has the hero with a name like "Sherry". People go to night clubs, and to fancy restaurants, and take drives in Central Park at night (it is, after all, the 1930s).The film is a bore - it occasionally amuses because of the cast, but the dialog is brittle for the sake of brittle. It is Noel Coward's world but not the real wit he brought - Coward's best plays show a streak of harshness and mutual malevolence mixed with affection in his couples like Amanda and Elyot in "Private Lives". They also tend to be smarter than the characters here.Also the characters are not all that amusing nowadays. Montgomery's cousin is Charlie Ruggles, who is constantly drunk. Ruggles is a favorite comedian to me, but here he was dull. Reginald Denny is around as a British version of Ralph Bellamy - an available alter-suitor to Montgomery for Crawford, and while Denny is elegant (in a skittish sort of way) he is not at all as amusing as Ralph Bellamy was in "His Girl Friday" or The Awful Truth".After watching this film I stopped to consider the three leads. Montgomery was typecast for most of the 1930s (except for an occasional film like "The Big House") as a happy, amoral socialite. Nobody really played the upper-crust cad as well as he did, but he got bored by it, and fought for meatier parts - and after his brilliant Danny in "Night Must Fall" he got them. Crawford reveled in parts like the hard-working lower class girl fighting her way to happiness, but she did many "socialite" parts as well. Along came "The Women", and she played a villainous social climber. After that came the really hard-boiled darker parts of the 1940s and 1950s like "Mildred Pierce" and "A Woman's Face" and "Flamingo Road". Tone, in 1935, would start having roles like Bryam in "Mutiny On The Bounty" - like Montgomery he would play his wealthy cads, but he would be able to step into nastier, meatier roles like "The Phantom Lady" and "The Man On The Eiffel Tower". When one talks to their fans about the great work of these three actors, it is the films where they played characters with demons after them that are recalled. Few really recall a piece of meaningless cotton candy like "No More Ladies" regarding any of them.