Anders de Wahl is a distinguished entomologist writing papers about the polygamous lives of beetles. Tora Teje is his wife who has lovers, of whom de Wahl is stodgily unaware. One of them should be Lars Hanson, but he has scruples about sleeping with his best friend's wife. There's also Karin Molander as Miss Teje's niece, who captivates all of de Wahl's students, and Vilhelm Bryde as Miss Teje's current plaything, of whom she is growing tired.
Mauritz Stiller's movie should be familiar to film buffs who like Demille; the set-up is very much like the social comedies he was making at the time, minus the Christian ending and the lavish flashbacks -- although there is a sequence dropped in, in which they are all at the ballet watching a piece about a woman who wants to have a fling with her husband's best friend. The camerawork is not as lavish, but the editing is so good that the movie moves along smoothly, with never a bump when it takes an unexpected turn.
The ultimate unexpected turn is that it's all right. In the end, everyone still likes everyone else, but there's no message about this is the way things are supposed to be, forever and amen. Sometimes we make mistakes, and if we can fix them, everyone will be happier. Of course Stiller chooses his details carefully so his message is reinforced, but that's an artist's prerogative. He certainly has a movie here that, as de Wahl remarks, agrees with the movie-going public: a happy ending for all.
Mauritz Stiller's movie should be familiar to film buffs who like Demille; the set-up is very much like the social comedies he was making at the time, minus the Christian ending and the lavish flashbacks -- although there is a sequence dropped in, in which they are all at the ballet watching a piece about a woman who wants to have a fling with her husband's best friend. The camerawork is not as lavish, but the editing is so good that the movie moves along smoothly, with never a bump when it takes an unexpected turn.
The ultimate unexpected turn is that it's all right. In the end, everyone still likes everyone else, but there's no message about this is the way things are supposed to be, forever and amen. Sometimes we make mistakes, and if we can fix them, everyone will be happier. Of course Stiller chooses his details carefully so his message is reinforced, but that's an artist's prerogative. He certainly has a movie here that, as de Wahl remarks, agrees with the movie-going public: a happy ending for all.