Horrible, fascist and poorly acted

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

The film may be flawed, but its message is not.

Exactly the movie you think it is, but not the movie you want it to be.

Pearl is a rich American who is marrying into British royalty. However, on her wedding night, she learns that her husband has no interest in her--just her money. And, he has a lover. So, instead of leaving him and asking for an annulment, she decides to dive into the decadent lifestyle of these idlers. She flaunts morality and lives for fun and her own sexual conquests. All in all, her friends are a very vacuous crowd.At first, I thought all this was quite interesting and a nice commentary about the British aristocracy. However, after a while it all began to drag because the film was so very talky and mannered. Too many people talking as if they are in an amateur acting class on 'let's do British accent day'. All in all, it became a bore and lost me. One of the worst of these silly performances was by Duchess Minnie (Violet Kemble Cooper)--and it often lacked realism. Of course, this could also be said about several others in this dull film. Yes, it has its moments--but not nearly enough to make it worth seeing--even the chance to see Ernest near the end of the film!By the way, about a decade after this film, Bennett and Gilbert Roland (who was also in this film) were married. They made two films together--both in 1933--"Our Betters" and "After Tonight".

Fascinating, richly-textured morality play by the great Somerset Maugham, acted to perfection by a first-rate cast including Constance Bennett at her absolute peak. George Cukor directed with a master's touch, Max Steiner provided the score, and David O. Selznick's production was polished. Constance Bennett plays the disillusioned American wife of a British aristocrat, who finds out on her wedding day that her husband married her only for her money. She decides to take life on their terms, and becomes a cunning seductress among a large group of wealthy and cynical people. Her scheming, combined with the sharp, cynical dialog worthy of Oscar Wilde, and the general irony of the whole affair, makes for an amusing and intelligent film. The witty one-liners are to be cherished, as are the fabulous gowns, and the glowing beauty of Constance Bennett. The film was also one of the first to feature an openly gay character. It's a great treat to view the film 75 years later. Although society may have changed, human behavior has not.

W Somerset Maughan, the influential English writer and playwright, was a man that knew a lot about the upper crust society of England. His delightful play about rich people living privileged lives, serves as the basis of this movie that is not seen often. The film is greatly helped by the direction given by George Cukor, a man who was in his element eliciting excellent performances of his cast.Best of all is Constance Bennett, a luminous presence in the movies of those days that was at the height of her popularity when "Our Betters" was made. Ms. Bennett had a beautiful figure and she could act. In the film she plays Lady Pearl Grayston, an American living in London.The other extraordinary performance is given by Violet Kemble, who as Minnie, the Duchess of Surae, shows quite a range as the silly old woman in love with a young playboy. Ms. Kemble is enormously funny at one point, then, when she discovers her Pepi's infidelity, she is quite crossed with her hostess for taking such a step right in front of her.The others in the cast are quite good. Phoebe Foster, the gorgeous Anita Louise, Gilbert Roland, Alan Mowbray, and in an over the top performance in the last sequence by Tyrell Davis who, as a flighty Ernest, shows up made up and with all the best intentions to make the Duchess learn how to dance the tango.A delightful comedy thanks to Mr. Maughan and Mr. Cukor.

This is a delightfully bitter and witty play by Maugham, adapted to film almost exactly as it appeared on stage. Kemble as Minnie steals the show. And the last scene, between Minnie and the dance instructor, is simply hilarious. Charles Starrett, later a Western star in "B" movies, is wooden, and poor Gilbert Roland doesn't have a lot to work with in the script. But the others sparkle and shine, telling us what sophisticated light comedy can be at its best. What a shame this has not appeared on VHS.