Design for Living (1933)

Ernst Lubitsch has a way of making his films feel light and airy, so breezily sophisticated, and so simply joyful. They always seem to put me in a good mood, and this one is no exception. Miriam Hopkins is a woman torn between two lovers (Frederic March and Gary Cooper), and rather than limit herself, cycles through having both, one or the other, and neither (the latter while she's with a third, Edward Everett Horton). It's a great cast and the banter crackles with naughty innuendo, but at the same time, there is somehow an innocent playfulness about it.

OK, well even as I write that, I think of all of the subtle (or not so subtle) sexual moments in the film:

• Hopkins laying back on a dusty bed and as the men stand over and breathing "I'm so nervous! Couldn't we all be a little bit more ... nonchalant?"
• Because of an agreement to live together with "no sex", Hopkins kissing the top of each of the men's heads, in turns.
• After Cooper says they're being unnatural to deny their desire ("We're unreal, the three of us, trying to play jokes on nature"), Hopkins reclining back sensually and signaling that the "no sex" agreement will be lifted ("It's true we had a gentleman's agreement, but unfortunately, I am no gentleman.")
• Hopkins sitting in front of Cooper and reaching out to fondle the bottom part of his shirt, saying she'll have to sew a button on there.
• Hopkins to March when he returns: "I never forgot you. In fact, you never left me. You haunted me like a nasty ghost. On rainy nights I could hear you moaning down the chimney."
• Later, Hopkins saying that the bell to March's old typewriter still rings, while pressed up close to him and inches from his face.
• And lastly, a clear implication of a ménage à trois, as if that wasn't already the subtext running throughout the film.

It's a film that is (dangerously) liberating and empowering to women and their sexuality, and yet it's wrapped up in something that's charming and fun. The movie poster is fantastic too.

Some other lines I liked: Hopkins, describing love, I just love how she delivered this: "Have you ever felt your brain catch fire, and a curious, dreadful thing go right through your body, down, down to your very toes, and leave you with your ears ringing?"

Hopkins, pointing out the double standard: "A thing happened to me that usually happens to men. You see, a man can meet two, three, or even four women, and fall in love with all of them. And then, by a process of "interesting elimination," he's able to decide which one he prefers. But a woman must decide purely on instinct, guesswork, if she wants to be considered nice. Oh, it's quite all right for her to try on a hundred hats before she picks one out..."

Fmovies: For me, of course, there would be no choice. A young Gary Cooper - talk about a dream walking.

Noel Coward's "Design for Living" was a play Coward wrote for himself and Lunt and Fontanne to star in, concerning a woman, Gilda, who can't decide between two young men and best friends in love with her, Tom and George. So the three decide to live together platonically. Tom leaves to work on his play, and while he's away, George and Gilda sleep together. Later on, alone with Tom, she sleeps with him, and George catches them together. Then Gilda makes a decision.

Only one line from the original play was retained for the film. Though it is precode, the sex is inferred. Given the Lubitsch touch, it's a delightful, sexy comedy with pretty Miriam Hopkins as the winsome Gilda, Fredric March as Tom, a playwright, and Gary Cooper as George, an artist.

The three young, attractive actors under Lubitsch's direction really make the film and situation sing.

March was never much for comedy, though he does an okay job. Hopkins was a wonderful actress with many Broadway credits before getting into films, and Cooper was just so darned gorgeous I have no idea how he was except my impression is that he was very good. Had I been Hopkins - no choice! A charming film.

I bought the Gary Cooper collection because of "Design for Living". It didn't disappoint me. This movie is classy, it's full of wit and sexually free. I found the plot intriguing, the set excellent, the costumes fine and Lubitsch inspired together with Ben Hecht (lovely and smart screenplay).

The movie shows 4 actors only, which could be considered its strength if the actors were all good. 1 out of 4 is good and 2 out of 4 are really good. 1 out of 4 has got nothing to do with such environments, dialogs and sophisticated comedy. Gary Cooper does not fit to me. He's a sort of amazing good looking and so dashing statue to look at. Nothing more. He just doesn't look comfortable in acting spoiling intellectual shades. He doesn't work to me.

Miriam Hopkins is good, she's mischievous, charming and funny. She plays the free woman with intelligence, combining sensuality and brain. Audience - even the male one - does understand why she can't choose between the two guys and she conquers it. Every woman would like to be her; that's the message she strongly brought on the screen: being free of living life the way she desires.

Edward Everett Horton is perfect, hilarious and very elegant. He's the right choice to play Plunkett Inc. and he didn't let it down. He IS Plunkett Inc.!

Fredric March is so charming, sophisticated, sexy and so right for Thomas. He does much better here than in other movies (e.g. Anna Karenina) which could seem more suitable for him. He's perfect for Lubitsch so much and his performance is a top one. He's a fine comedian too, he's measured and passionate at the same time and he's really handsome. His sensuality is made up either by intellectual attitude or a physical one.

Don't know why he's been forgotten, a wonderful actor like he is. Can anybody tell me?

I do suggest to get this movie and to enjoy it since it's really a nice touch in our collection. We do need nice and elegant touches. Especially nowadays.

Design for Living fmovies. In this surprisingly risqué film made before the Hays code, two men and a woman share an apartment in Paris and talk openly about sex. It's fun to watch, thanks to the witty and sophisticated dialog of Noel Coward, the screenplay by Ben Hecht, and of course the masterful direction of Lubitsch. March is wonderful as a struggling playwright. Hopkins has one of her best roles as a free-loving woman who loves two men but marries a third. Lubitsch elicits a fine comedic performance from Cooper as a hot-tempered artist. In a typical role, Horton plays a stuffed shirt. There's no music, which could make things seem static, but Lubitsch keeps it moving at a breezy pace.

I'm not a big fan of the Lubitsch Touch. This, which I hadn't seen in 20 years, I think is my favorite.

The recent Broadway revival of the Noel Coward play, which was supposedly very ooh-la-la and daring, was a bust. Interminable and misguided.

One problem was that the female lead was made very cold. In the movie, Miriam Hopkins is just right: pretty, seductive, witty.

Gary Cooper is sublime. He was a great comedian -- equally good in "Desire," the delightful movie with Dietrich that Lubitsch produced and supposedly had a big hand in directing. Too bad he changed gears so drastically and became the strong, silent Western hero he's known for today (if he's known at all, alas.)

Fredric March was a very fine actor but not a comedian. He is the weakest link; but he works well in the ensemble.

Edward Everett Horton is funny, as always.

It really works, and is as racy today as it must have been when it came out.

This was one of the movies I was so sure was going to be stupid and annoying but it turned out to be such fine comedy I've already watched it three times in the past week or two. So many good lines. Tom writes a play called Goodnight Bassington - a comedy in about three acts with a tragic ending. George paints Lady Godiva on a bicycle, despite the fact that a bicycle seat IS a little hard on her historical background. Gilda says that she went to see the above-mentioned painting of Lady Godiva with a friend. "She loved it. We haven't spoken since," Gilda tells George, who begins to pout. He does a fair amount of pouting throughout the film.

Eaglebauer also makes for some fine humour in some scenes near the end, but we never get to see the man. We only hear him bellowing out a joyous song about "falling leaves and fading trees! Goodbye, summer, goodbye!"

But besides all that this really wacky movie is a delight and I sure wish they'd re-release it because it's so good.

So. There's only one thing I have to say to you. Immorality may be fun, but it's not fun enough to replace one hundred per cent virtue and three square meals a day.