Mary Poppins Returns
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All Critics (12)
| Top Critics (2)
| Fresh (9)
| Rotten (3)
| DVD (3)
The script galumphs when it should glide.
Well, maybe it is a little lumpy for Lubitsch, but I think the film more than holds its own.
The "Lubitsch Touch," indeed: edged and between the ribs before you know it's being brandished.
It isn't [Lubitsch's] fleetest work, or most sustained, but it has moments of unbridled genius.
The dialogue is sharp without seeming too impeccably perfect to be real human speech.
Even when Lubitsch filmed a play by Noel Coward, he still made it his own. Design for Living doesn't feel like a celebrated play; it feels like a Lubitsch movie.
beneath the sublime surface of Lubitsch's best films beats a human heart full of recognizable desires, fears, flaws, and longings, which is precisely what sets his work apart from its sleazier, more mundane counterparts
A daring movie that satirizes sexual mores and heaps irony upon irony. If Hollywood tried to remake this movie today, they would probably take the ménage à trois set-up and strip away all the depth.
An elegant romantic farce that seems heavy-handed when it's meant to be lighthearted.
For Lubitsch, the film would mark the end of his most creative period at Paramount (1929-1933) -- and a fine final bow it is.
Welcome to bohemia!
A química entre o trio principal é ótima, mas o roteiro, livremente adaptado a partir de uma peça de Noel Coward, jamais aproveita o potencial de seus personagens.
The three main actors have a great chemistry together, which helps hold our attention for some nice time, but truth is, the script is pretty unfunny for a comedy and there is not enough here to engage us or make us care about anything that happens to the characters.
Noel Coward's subversive (and persistent) dream longing for the halycon days of the court of Caligula's nightly entertainment is toned down slightly by writer Ben Hecht and impresario director Ernst Lubitsch into a coy consideration for the free love movement ... in 1933, no less. The principals are charming, all professing love for the Bohemian experience while desperately trying to leave it behind.
the risque lubitsch comedy was originally a controversial noel coward play about a bohemian menage a trois. fearing that film audiences weren't as sophisticated as those of the theater, the studio hired ben hecht to gut the script and very few of coward's witty lines survived. while this is a crying shame, lubitsch still manages to work a little magic with alot of help from the ever charming miriam hopkins, a free-spirit who can't choose between two friends in love with her. soon they all agree to a rather unconventional living arrangement. the male leads are an impossibly handsome gary cooper, showing some comedy skills that got little use later in his career, and frederic march, who's even funnier imo. definitely worth a watch for the stars and unusual subject matter. it's clever but one can't help wondering what might have been
Very interesting, very funny and very racy comedy is about the creatively beneficial but sexless menage a toi between March, Cooper and Hopkins.
My least favorite Lubitsch so far, but that doesn't mean this still isn't great.
Great double entendres as well
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