Lonely Wives

Plot

Richard 'Dickie' Smith is a highly respectable and mild-mannered lawyer by day, but transforms into a completely different personality after hours, becoming a romantic 'animal' who frequents nightclubs and pursues women. His live-in mother-in-law constantly tries to keep him in line and protect her daughter from his nighttime escapades. The situation becomes complicated when a visiting actor who specializes in impersonations comes to see Richard, leading the two men to switch lives temporarily. This identity swap creates chaos as the impersonator takes over Richard's respectable life while Richard embraces his alter ego more freely, resulting in comedic misunderstandings and romantic entanglements that threaten to expose his double life.

Historical Background

Released in 1931, during the Great Depression, 'Lonely Wives' emerged as escapist entertainment for audiences struggling with economic hardship. The film was produced during Hollywood's pre-Code era, a brief period between 1929 and 1934 when censorship was lax, allowing filmmakers to explore more adult themes. This was also a transitional period in cinema technology, as studios were still mastering sound recording techniques. The early 1930s saw the rise of the screwball comedy genre, of which this film was an early example. The stock market crash of 1929 had created a demand for films that provided laughter and temporary relief from harsh realities. Hollywood was also consolidating into the studio system, with RKO being one of the 'Big Five' major studios of the era.

Making Of

The production faced the typical challenges of early sound films, including the need for static camera positions to accommodate bulky microphones. Edward Everett Horton had to carefully modulate his voice to create distinct personalities for the dual role, as visual cues alone weren't sufficient in the sound era. The film was shot quickly on RKO's backlot, with minimal location work. The cast, having come from silent film backgrounds, had to adapt their acting styles for the microphone, with many taking voice coaching lessons. The pre-Code environment allowed for more suggestive dialogue and situations that would soon be forbidden by the Hays Code. Director Russell Mack brought his stage experience to bear on the film, emphasizing timing and performance over technical innovation.

Visual Style

The cinematography by Jack MacKenzie utilized the static camera techniques common in early sound films, with limited movement due to microphone constraints. The lighting followed the standard three-point setup of the era, with soft focus used particularly for the female leads. Visual distinction between Horton's two characters was achieved through subtle changes in posture and movement rather than dramatic lighting shifts. The film employed basic cross-cutting techniques to maintain narrative flow between the dual storylines. Interior scenes were shot on studio sets with painted backdrops, typical of RKO's efficient production methods. The cinematography prioritized clarity for dialogue scenes over visual artistry, reflecting the technical limitations and priorities of early sound cinema.

Innovations

While not groundbreaking technically, 'Lonely Wives' demonstrated RKO's growing proficiency with sound technology. The film employed early microphone techniques that allowed for slightly more camera movement than many contemporary productions. The editing effectively synchronized the dual narrative threads, a challenge in early sound films where pacing was often constrained by technical limitations. The production utilized RKO's improved soundstages, which provided better acoustic control than earlier facilities. The film's successful integration of physical comedy with dialogue-driven humor represented an important step in the evolution of sound comedy. Special effects were minimal but included basic split-screen techniques for scenes involving both versions of Horton's character simultaneously.

Music

The film's musical score was typical of early 1930s RKO productions, consisting primarily of stock music and original cues by studio composer Max Steiner (though uncredited for this particular film). The soundtrack included popular songs of the era performed during nightclub scenes, reflecting the film's setting. Sound recording was done using the Western Electric system, which was standard for RKO productions. The audio quality reflects the technological limitations of the period, with some noticeable background hiss and limited dynamic range. Dialogue was recorded directly to film without post-production dubbing, requiring actors to deliver their lines perfectly on set. The film's sound design emphasized clarity of speech over ambient sound or music, typical of early talkies that prioritized the novelty of audible dialogue.

Memorable Scenes

• The opening sequence where Edward Everett Horton transforms from his stuffy lawyer persona to his nightlife alter ego, complete with costume change and attitude shift
• The climactic scene where both versions of the character appear together, creating confusion and chaos at a high society party
• The mother-in-law's attempts to 'protect' her daughter by following the lawyer on his nighttime adventures, resulting in comic misunderstandings
• The first meeting between the lawyer and the actor impersonator, where they realize their uncanny resemblance and hatch the identity-switch plan

What Critics Said

Contemporary reviews were mixed but generally positive, with critics praising Edward Everett Horton's performance in the dual role. The New York Times noted Horton's 'usual comic skill' but found the plot somewhat predictable. Variety appreciated the film's brisk pace and comedic timing, though it criticized the lack of originality in the premise. Modern critics have reassessed the film as an interesting artifact of the pre-Code era, with particular attention paid to its risqué elements that would soon be banned from Hollywood films. Film historians have noted its importance as an early example of the identity-switch comedy trope that would become more refined in later films. The movie is often cited in studies of how censorship affected Hollywood comedy, with scholars pointing to it as an example of what was possible before the Hays Code enforcement.

What Audiences Thought

The film performed moderately well at the box office, appealing primarily to fans of Edward Everett Horton and audiences looking for light entertainment during the Depression era. Contemporary audience reactions, as reported in trade publications, were generally favorable, with viewers enjoying Horton's comic timing and the film's breezy pace. The movie's adult themes and innuendos were noted as particularly appealing to urban audiences. However, like many films of its era, it was quickly forgotten as newer productions replaced it in theaters. Modern audiences who have discovered the film through revival screenings or home video have generally found it charming as a period piece, though some find the pacing slow compared to modern comedies. The film has developed a small cult following among pre-Code cinema enthusiasts who appreciate its historical significance.

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