Did you people see the same film I saw?

While it doesn't offer any answers, it both thrills and makes you think.

One of the best movies of the year! Incredible from the beginning to the end.

A clunky actioner with a handful of cool moments.

. . . (that would be A WOMAN'S FACE), this movie has the novelty of being the only pairing between the old face of MGM--Crawford--and the Roaring Lion's new visage, the future Mrs. Miniver herself, Greer Garson. Crawford's tyrannical ways had worn out her welcome at Tara, and Garson was several years away from ruining her own Reign on the Mane by wedding "Mrs. Miniver's" son in Hollywood's version of reality. However, when Joan and Greer's characters finally get to have their wildly-anticipated heart-to-heart toward the end of WHEN LADIES MEET, there is no talk of wire hangers or virtual incest. Instead, they have a highly contrived conversation about a "hypothetical" love triangle that the viewers already know is Hyper-Actual. Herbert Marshall's performance as the man in their middle is so smarmy that it's hard to imagine the women in a theater audience NOT loudly hissing collectively whenever he's on-screen. On the other hand, Robert Taylor as a thinner, wise-cracking good guy with a mustache is so similar to William Powell or Don Ameche's usual performances, it's surprising that those three were not born triplets in real life.

Entertaining flick, taken from a stage play.Writer is in love with her womanizer publisher who is already married.The writer's boy friend for his own motives sets the writer up to meet the publishers' wife with interesting consequences.The picture starts slowly but gets a up a head of steam and:I expected an explosive climax, but this is not that kind of film, nevertheless a clever story with an intelligent script.In my opinion the 2 male leads ought to have switched roles.In any event an enjoyable and watchable movie deserving:7/10

Rachel Crothers was one of the United States' best playwrights for decades. "He and She" and "When Ladies Meet" are her two best-known works. There was a good earlier version of this work; this remake has the benefit of stars of the caliber of Greer Garson as the wronged wife, Joan Crawford as the girl who wrongs her, Herbert Marshall as Garson's husband and Robert Taylor as the young man who loves Crawford. Robert Z. Leonard directed the film, with his usual skill in getting first-rate performances from his actors. The screenplay, adapted from the fine play by Anita Loos and S.K. Lauren, seldom seems as if it had been a stage work; and the scenes are opened out to include sailing and other outside scenes. The film boasts another lovely set by Cedric Gibbons, and some dense B/W style provided by the photography team. Music is by Bronislau Kaper, and in the talented cast along with the aforementioned quartet of well-cast actors the director gave us Spring Byington and several other good choices. But it is the plot in this highly-intelligent and understated contest between two women that drives every action; the theme of this important look at personal relations and the rules of commitment in partnerships is honesty--to oneself, and to one's partner. Garson thought she had a good marriage; Marshall may not have thought so, but he had no real reason to cheat, except to pretend to be Crawfor'd infallible mentor--a very unhealthy misassumption. Crawford thinks she is modern because she does not care why she is making herself momentarily happy; and Taylor loves Crawford for what she should be, not what she is. Byington, older and wiser, has taken on a 'husband' who is content to be her husband, and she has settled for his good points and agreed to put up with the rest on equal terms. The gimmick that works as a plot device here, cleverly, is that the two women in Marshall's life have never met; and when they do, Crawford still does not know who Garson is--or that she know her for what she is... In their parts, Garson is powerful, wonderfully intelligent and strong; Crawford does her best but apart from matching her charisma she cannot begin to match Garson's ethical screen presence. Robert Taylor plays his part as callow, charmingly young, and it is one of his best in energy, approach and timing. Marshall is professional in his part, but a bit old or staid to play a part that really required a Warren William or Walter Pigeon. .The lighting, the set decorations by Edwin B. Willis and the costumes are a great asset also. This is a very underrated.and intelligent look at "modern marriage", c. 1941. The upshot of the film is that Marshall realizes what he about to lose and is smart enough to try to earn Garson's love again, and that Crawford realizes what she was about to do for momentary pleasure by pretense, without even having earned it--with the possibility that Taylor may become to her what she had been fantasizing Marshall might be. This is always an interesting narrative, a very compelling mix of dramatic and character- revealing screwball satire elements. Highly recommended

Simple story, but some of the acting is marvelous, especially Greer Garson, who literally steals the movie. It was almost embarrassing to watch Joan Crawford try to act next to her. The difference of talent between the two women is unmistakable---Garson is leagues ahead.Robert Taylor was also excellent, playing the mischievous suitor, comically bent on winning Joan Crawford's Mary Howard. I had previously only seen him melodrama, so watching him play a comedic role was very refreshing.The story is a bit slow, but it picks up when Crawford and Garson meet towards the end of the picture. The dialog there is smart and thought provoking, and the talent of Garson really shines through.Not a great movie, but worth a rental to catch some good acting from two of the studio era's greatest stars.