DESIGN FOR LIVING (Paramount, 1933), directed by Ernst Lubitsch, is the Lubitsch touch to the popular 1932 Noel Coward play transferred from stage to screen. With the risque stage comedy featuring Noel Coward himself, with Alfred Lunt and Lynn Fontanne in support, this tone down screen adaptation by Ben Hecht stars an interesting ensemble of Fredric March, Gary Cooper and Miriam Hopkins. With Hopkins having worked under Lubitsch in THE SMILING LIEUTENANT (1931) and TROUBLE IN PARADISE (1932), she would be a natural fit in the role that might have gone to Carole Lombard, had the studio then realized her flair for comedy that wouldn't be recognized until her breakthrough performance in TWENTIETH CENTURY (Columbia, 1934). The surprise casting not only goes to Paramount's top leading men, Fredric March and Gary Cooper, performing together for the only time, but Cooper the unlikely choice in a role that might have gone to Cary Grant, had the studio realized his flair for comedy as well. Interestingly, the casting of Cooper makes DESIGN FOR LIVING worth viewing, even for that one scene alone where Cooper speaks French.
On a train bound for Paris, the story introduces Gilda Farrell (Miriam Hopkins) entering a compartment shared by a couple of seated passengers sleeping to their loud snores. After sketching the two on her drawing pad, Thomas P. Chambers (Fredric March), a playwright, and George Curtis (Gary Cooper), an artist, awaken and get acquainted with their fellow passenger. After reaching their point of destination three hours later, the trio become the best of friends, in fact, almost inseparable, much to the surprise of Gilda's advertising executive employer, Max Plunkett (Edward Everett Horton) meeting her at the train station. Though Gilda has known Max for five years, he has never romantically "gotten to first base" with her. With Gilda in love with both men who love her equally well, she finds she cannot marry them both. Not wanting to spoil their great friendship that has lasted for eleven years, Gilda solves the problem with her "gentleman's agreement" by moving in with them. During their union, Gilda becomes their severest critic by assisting Tom with his unproduced play "Goodnight Bassington" and giving George confidence that his paintings will someday be on display in an art gallery. All goes well until one of them breaks out of their agreement causing the rejected ones to figure out why. Co-starring Franklin Pangborn (Mr. Douglas), Isabel Jewell (The Stenographer), Jane Darwell (The Housekeeper) and Wyndham Standing (The Butler).
While the Lubitsch/Hopkins collaboration of TROUBLE IN PARADISE proved highly successful, it's been said that DESIGN FOR LIVING, in spite of its impressive casting, didn't do as well. Interestingly, in later years, it was DESIGN FOR LIVING that had more television revivals in the 1960s and 70s than the limited presentation of TROUBLE IN PARADISE. March and Cooper shine for laughter for one great scene by disrupting Max Plunkett's dinner party honoring the (unseen) guest of honor, Mr. Egelbauer. In spite of Hopkins third cast billing under March and Cooper, DESIGN FOR LIVING is her film all the way.
Never distributed to video cassette, DESIGN FOR LIVING (which should have been retitled DESIGN FOR LOVING) did have a DVD release in 2005. Cable television broadcasts for DESIGN FOR LIVING have been broadcast on Arts and Entertainment and The Movie Channel (1990); SHOWTIME (1991); American Movie Classics (1991-92) and Turner Classic Movies (since 2003). Due to frequent showings over the years, DESIGN FOR LIVING, at 90 minutes, appears to have stood the test of time. (***1/2)
On a train bound for Paris, the story introduces Gilda Farrell (Miriam Hopkins) entering a compartment shared by a couple of seated passengers sleeping to their loud snores. After sketching the two on her drawing pad, Thomas P. Chambers (Fredric March), a playwright, and George Curtis (Gary Cooper), an artist, awaken and get acquainted with their fellow passenger. After reaching their point of destination three hours later, the trio become the best of friends, in fact, almost inseparable, much to the surprise of Gilda's advertising executive employer, Max Plunkett (Edward Everett Horton) meeting her at the train station. Though Gilda has known Max for five years, he has never romantically "gotten to first base" with her. With Gilda in love with both men who love her equally well, she finds she cannot marry them both. Not wanting to spoil their great friendship that has lasted for eleven years, Gilda solves the problem with her "gentleman's agreement" by moving in with them. During their union, Gilda becomes their severest critic by assisting Tom with his unproduced play "Goodnight Bassington" and giving George confidence that his paintings will someday be on display in an art gallery. All goes well until one of them breaks out of their agreement causing the rejected ones to figure out why. Co-starring Franklin Pangborn (Mr. Douglas), Isabel Jewell (The Stenographer), Jane Darwell (The Housekeeper) and Wyndham Standing (The Butler).
While the Lubitsch/Hopkins collaboration of TROUBLE IN PARADISE proved highly successful, it's been said that DESIGN FOR LIVING, in spite of its impressive casting, didn't do as well. Interestingly, in later years, it was DESIGN FOR LIVING that had more television revivals in the 1960s and 70s than the limited presentation of TROUBLE IN PARADISE. March and Cooper shine for laughter for one great scene by disrupting Max Plunkett's dinner party honoring the (unseen) guest of honor, Mr. Egelbauer. In spite of Hopkins third cast billing under March and Cooper, DESIGN FOR LIVING is her film all the way.
Never distributed to video cassette, DESIGN FOR LIVING (which should have been retitled DESIGN FOR LOVING) did have a DVD release in 2005. Cable television broadcasts for DESIGN FOR LIVING have been broadcast on Arts and Entertainment and The Movie Channel (1990); SHOWTIME (1991); American Movie Classics (1991-92) and Turner Classic Movies (since 2003). Due to frequent showings over the years, DESIGN FOR LIVING, at 90 minutes, appears to have stood the test of time. (***1/2)