Strangers May Kiss (1931)

77,82 or 85 mins | Drama, Romance | 4 April 1931

Director:

George Fitzmaurice

Cinematographer:

William Daniels

Editor:

Hugh Wynn

Production Designer:

Cedric Gibbons

Production Company:

Metro-Goldwyn-Mayer Corp.
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HISTORY

According to the Var review, the ending of this picture differs significantly from the Parrott novel on which it is based. In the book, Lisbeth commits suicide after waiting for years for Alan to return. The film marked actor Neil Hamilton's first picture for M-G-M. According to M-G-M publicity material, Robert Montgomery, while filming a scene in which he impersonated a bull in a bullfight, sustained an injury when the "matador thrust cane jabs into his ribs to ward him off." An Aug 1931 FD news item notes that a Spanish version of Strangers May Kiss was to be directed by Emile de Recat and written by Racquel Nieto (also known as Racquel Delmar). No further information on the production or release of a Spanish version of the film has been found.
       The file for Strangers May Kiss in the MPAA/PCA Collection at the AMPAS Library contains an AMPP inter-office memo dated 13 Apr 1931, in which an AMPP public relations official wrote, "it would be difficult for me to exaggerate my revulsion at this picture and my sense of horror that our present set-up is permitting product of this type to go through." The official also suggested that the film "is a reflection of the initiatory stages of the degeneration of a people. It embodies and personifies the warped moral sense which has disintegrated every previous civilized nation." Furthermore, the official stated that "either by design or by reason of inablility to act an ingenue part, Miss Norma Shearer is silly and unattractive when she is supposed to be a pure young ...

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According to the Var review, the ending of this picture differs significantly from the Parrott novel on which it is based. In the book, Lisbeth commits suicide after waiting for years for Alan to return. The film marked actor Neil Hamilton's first picture for M-G-M. According to M-G-M publicity material, Robert Montgomery, while filming a scene in which he impersonated a bull in a bullfight, sustained an injury when the "matador thrust cane jabs into his ribs to ward him off." An Aug 1931 FD news item notes that a Spanish version of Strangers May Kiss was to be directed by Emile de Recat and written by Racquel Nieto (also known as Racquel Delmar). No further information on the production or release of a Spanish version of the film has been found.
       The file for Strangers May Kiss in the MPAA/PCA Collection at the AMPAS Library contains an AMPP inter-office memo dated 13 Apr 1931, in which an AMPP public relations official wrote, "it would be difficult for me to exaggerate my revulsion at this picture and my sense of horror that our present set-up is permitting product of this type to go through." The official also suggested that the film "is a reflection of the initiatory stages of the degeneration of a people. It embodies and personifies the warped moral sense which has disintegrated every previous civilized nation." Furthermore, the official stated that "either by design or by reason of inablility to act an ingenue part, Miss Norma Shearer is silly and unattractive when she is supposed to be a pure young thing...having her first love affair, but she is very attractive and appealing after she has become a high-class harlot."
       Following the release of the film, the AMPP received a letter of complaint from the Mexican consulate, which said the film contained "scenes derogatory to the customs of the Mexican nation." The Mexican consulate threatened to decree an embargo on all M-G-M films unless the film was withdrawn from circulation. By Dec 1931, many of the scenes in question were deleted and the controversy was apparently resolved. The MPAA/PCA file also indicates that the film was rejected by censors in Hungary and Ireland.
       Modern sources list actors Bess Flowers ("Dining extra"), Karen Morley ("Dining companion"), Wilbur Mack ("Dining companion"), and Kane Richmond in the cast. Modern sources also indicate that Norma Shearer made this film shortly after giving birth to her son, Irving Thalberg, Jr., and that she was worried about the effect the pregnancy would have on her appearance in the picture.

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PERSONAL & COMPANY INDEX CREDITS
HISTORY CREDITS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Film Daily
12 Apr 1931
p. 32
Film Daily
9 Aug 1931
p. 5
HF
24 Jan 1931
p. 24
Motion Picture Herald
17 Jan 1931
p. 58
Motion Picture Herald
28 Feb 1931
p. 51
Motion Picture Herald
7 Mar 1931
p. 21
New York Times
11 Apr 1931
p. 17
New York Times
13 Apr 1931
p. 17
New York Times
19 Apr 1931
p. 5
Variety
15 Apr 1931
p. 33
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A George Fitzmaurice Production
NAME
CREDITED AS
CREDIT
DIRECTORS
Harry Bucquet
Asst dir
WRITER
Dial cont
PHOTOGRAPHY
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
COSTUMES
Gowns
SOUND
Rec dir
SOURCES
LITERARY
Based on the novel Strangers May Kiss by Ursula Parrott (New York, 1930).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
4 April 1931
Production Date:
5 Jan--5 Feb 1931
Copyright Info
Claimant
Date
Copyright Number
Metro-Goldwyn-Mayer Distributing Corp.
30 March 1931
LP2107
Physical Properties:
Sound
Western Electric Sound System
Black and White
Duration(in mins):
77,82 or 85
Length(in reels):
10
Country:
United States
SYNOPSIS

Lisbeth Corbin, a secretary at Geneva Sterling's beauty shop, is in love with foreign correspondent Alan Harlow. When Geneva suggests that Lisbeth marry her sweetheart, the young girl tells her that she does not believe in marriage and that she and Alan have agreed that they can be perfectly content as lovers. Steve, Lisbeth's childhood sweetheart and an occasional tippler, vies for her attention and frequently asks her to marry him. One evening, Lisbeth, Alan, her aunt Celia and others attend a nightclub, where Celia extolls the virtues of marriage and swears that after ten years of marriage to Andrew Corbin, she is still very much in love. No sooner does she attest to her happiness, however, than her husband is spotted stepping out with another woman. After the humiliated Celia confronts Andrew and his paramour, she is escorted home by Lisbeth and Alan. Once they arrive at Celia's apartment, the distraught aunt asks to be left alone. Lisbeth and Alan take the elevator down to the ground floor and arrive only moments after Celia has committed suicide by jumping out of her window. Following the tragedy, Alan leaves Lisbeth. When he returns to her, he explains that he left because Celia's suicide reminded him that women are prone to hysteria and that he did not ever want to hurt Lisbeth the way Celia's husband did. Lisbeth dismisses Alan's reasoning and asserts that "nowadays girls can kiss and go on." She then accompanies him to a remote village in Mexico for a romantic interlude. The excursion ends abruptly, however, when Alan tells Lisbeth that he is married to another woman and ...

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Lisbeth Corbin, a secretary at Geneva Sterling's beauty shop, is in love with foreign correspondent Alan Harlow. When Geneva suggests that Lisbeth marry her sweetheart, the young girl tells her that she does not believe in marriage and that she and Alan have agreed that they can be perfectly content as lovers. Steve, Lisbeth's childhood sweetheart and an occasional tippler, vies for her attention and frequently asks her to marry him. One evening, Lisbeth, Alan, her aunt Celia and others attend a nightclub, where Celia extolls the virtues of marriage and swears that after ten years of marriage to Andrew Corbin, she is still very much in love. No sooner does she attest to her happiness, however, than her husband is spotted stepping out with another woman. After the humiliated Celia confronts Andrew and his paramour, she is escorted home by Lisbeth and Alan. Once they arrive at Celia's apartment, the distraught aunt asks to be left alone. Lisbeth and Alan take the elevator down to the ground floor and arrive only moments after Celia has committed suicide by jumping out of her window. Following the tragedy, Alan leaves Lisbeth. When he returns to her, he explains that he left because Celia's suicide reminded him that women are prone to hysteria and that he did not ever want to hurt Lisbeth the way Celia's husband did. Lisbeth dismisses Alan's reasoning and asserts that "nowadays girls can kiss and go on." She then accompanies him to a remote village in Mexico for a romantic interlude. The excursion ends abruptly, however, when Alan tells Lisbeth that he is married to another woman and will be leaving her behind to take an assignment in Rio de Janeiro. Lisbeth begs to go with him, but Alan spurns her and calls their relationship a "bad mistake." Heartbroken, Lisbeth goes to Europe, where she is soon courted by some of the continent's most eligible men. One evening, Lisbeth happens upon Steve, who admits that he has been searching for her and that he still wants to marry her. Lisbeth shows little interest in Steve, and that night, two years after their separation, she receives a telegram from Alan, who informs her that he has divorced his wife and now wants to see her again. Lisbeth goes to Alan's hotel room, only to be spurned once again when Alan hears of her European affairs. Though Steve promises to stop drinking if Lisbeth marries him, she rejects his kind offer and returns to New York. Sometime later, Lisbeth and Alan meet again, and after Alan forgives her for dating other men in his absence, they resume their romance.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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