Nonureva Really Surprised!

Humbersi The first must-see film of the year.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

davidjanuzbrown This is without question Myrna Loy's worst movie (#44 that I saw). I thought there is no way you could take her and Irene Dunne, put them in a movie, and have it turn out bad. The problem was not that she was a bad character (she was that, but she played them before and better (including versus Irene Dunne in the classic horror film 'Thirteen Woman')), she was wooden and extremely unattractive with no figure. Dunne was also unattractive to look at with that haircut. I especially did not like the open marriage theme between Dunne and Pat O'Brien (spoilers ahead Dunne's near abandonment of the kid stands out). Come to think of it, there was not one character I actually cared one iota about. Who was best? It was actually Dunne, but that was only in comparison to Loy and O'Brien. I give it a generous one star.

MartinHafer The so-called "Pre-Code" films were made up to about 1935 and were called this because although Hollywood DID have a long list of standards, they were pretty much ignored until an updated Production Code was adopted. These Pre-Code films were some times VERY racy and not at all what the average person these days thinks these early films were like, as some included nudity, foul language, racy topics and violence! While CONSOLATION MARRIAGE was made in this era and has SOME elements that would not have been allowed had it been made just a few years later, it is a relatively benign film--with no nudity or violence. Instead, its main plot line would NOT have been acceptable, as it concerns a marriage of convenience that is essentially an "open marriage". If either partner became dissatisfied or found someone else, then they both agreed the marriage was over and it was okay to leave! This rather selfish or amoral view of marriage NEVER would have appeared in films during the next several decades! This strange marriage contract, it seems, resulted from BOTH Pat O'Brien and Irene Dunne being dumped by their respective fiancés. So, out of loneliness, they were drawn together--at least until something better came along! And, later, BOTH Dunne's and O'Brien's old flames return and want them! And, at this point the couple have a choice to make--leave or stick around. This is further complicated by the fact that they now have a baby! How this whole thing is sorted out is, despite it being Pre-Code, rather conventional and predictable--as well as overly long and a tad dull. That's because this type of plot was, believe it or not, often copied! I have seen several very similar movies involving open marriages in the early 1930s and in each case, the film ends EXACTLY where you'd expect. Because of this derivative nature, it is a very skip-able film--especially if you've seen others like it.FYI--It's interesting to see that in this film Myrna Loy is a blonde!

Peter Fairburn Although the first ten minutes of the film are a trial, relishing as it does the cacophony of early films, the sheer bravado of Pat O'Brien and the iridescent charm of Irene Dunne soon make up for the horror of Myrna Loy, as stiff and plastic as her hairdo, and John Halliday, as a weak, chinless cretin musician. Once these two are left behind, the screenplay transcends its material and the dialogue and wit are as illuminating as the key lighting. The interaction between Dunne and O'Brien is what people mean when they say: "They don't make movies like this anymore." The two simply become more than the sum of their parts.Discussing the ending would be akin to drowning a kitten. Suffice it to say that this is soap opera at its best and once the two weak sisters re-appear and disappear, we are left with an ending that allows us to feel morally uplifted. The material is dated but the inter-action between these two beginning stars of yesteryear makes up for any weaknesses. To fault the film for its age is simply ridiculous and makes such critics even less aware of just how good Hollywood films once were -- crowsfeet and all.

Arthur Hausner Irene Dunne and Pat O'Brien marry each other on the rebound after each of their true loves marry someone else. It is agreed to be an "open" marriage, where each can leave at any time with no questions asked. The film tries to answer the question: what happens if either of their former loves came back and want them? That is exactly what happens in duplicate - both loves, Myrna Loy and Lester Vail, return almost at the same time and want their former sweethearts back. I enjoyed watching the stars perform even though the story was routine and the final outcome was never really in doubt. The supporting cast, especially John Halliday, was all very good. Myrna Loy was still stuck in her "bad girl" roles.Watch for the scene where Dunne and O'Brien drive by New York's RKO Mayfair. Its marquee is emblazoned with lights heralding two RKO features shown earlier in 1931, A Woman of Experience and Millie. You can even pick out ZaSu Pitts on the marquee, but a large screen TV and a VCR in the slow motion mode will help.