As I mention in my book Ann Harding-Cinema's Gallant Lady, DOUBLE HARNESS was one of the many wonderful pre-Code films to "bite the dust" after the enforcement of the Production Code. The film was a critical and financial success, but never re-released. The problem was a seduction scene which established that Ann Harding was offering William Powell premarital favors. In the 1950's ... a truncated DOUBLE HARNESS showed up on New York TV where portions of this "offensive" scene were deleted. This DVD contains the restored version.
DOUBLE HARNESS -used here as an idiom for "Marriage" had been a London stage success in 1933 written by an American, Edward Poor Montgomery, who adapted it from a 1904 novel by English author Anthony Hope. Hope had also penned THE PRISONER OF ZENDA. Oddly enough, the director for DOUBLE HARNESS, John Cromwell, would direct Ronald Colman 1937's THE PRISONER OF ZENDA. Cromwell also directed OF HUMAN BONDAGE, with Bette Davis, after Ann Harding turned down the role. Cromwell had actually directed Ann Harding ten years earlier, in 1923, in her first big hit on Broadway, TARNISH.
By the time they teamed for DOUBLE HARNESS in May 1933, both Ann Harding and William Powell were well-established screen stars. Harding had been nominated for Best Actress for HOLIDAY (1930) and Powell was just a year away from THIN MAN triumph at MGM. Powell liked the script for DOUBLE HARNESS and was delighted to be working with Ann, an actress whom he truly admired. On screen their chemistry and rapport is the film's chief asset.
In his 2007 review of Double Harness SF critic/author Mick LaSalle stated, "Double Harness is especially precious because it is one more of a handful of first-rate vehicles for Ann Harding, who was perhaps the best actress of the early 1930s. Don't believe it? See her. Her technique is psychological, extremely modern." As with most Ann Harding films, the ensemble spirit prevails. Cromwell's direction is sleek. Ann's saucy, yet level-headed character targets wealthy San Francisco playboy Powell as if it were her "business" to do so. Powell finds her "coolly virginal, yet exquisitely inviting." He asks if she can be trusted. "Can you?" she replies. "In drinking, yes," he answers. Harding and Powell pull off the superb dialogue with seasoned charm and flair. Watch for the scene where Harding first goes up to Powell's apartment. She's wearing a gardenia corsage that Powell gave her- as they embrace, she exclaims "My Flowers!" She's about to be deflowered, as it were--a great double-entendre.
About the only thing that misses the mark is a slap-stick scene toward the end. A confrontation between Reginald Owen (the butler) and Wong Chung (the cook)comes off as a bit awkward. The finis itself, however, is quite touching. Highly Recommended.
DOUBLE HARNESS -used here as an idiom for "Marriage" had been a London stage success in 1933 written by an American, Edward Poor Montgomery, who adapted it from a 1904 novel by English author Anthony Hope. Hope had also penned THE PRISONER OF ZENDA. Oddly enough, the director for DOUBLE HARNESS, John Cromwell, would direct Ronald Colman 1937's THE PRISONER OF ZENDA. Cromwell also directed OF HUMAN BONDAGE, with Bette Davis, after Ann Harding turned down the role. Cromwell had actually directed Ann Harding ten years earlier, in 1923, in her first big hit on Broadway, TARNISH.
By the time they teamed for DOUBLE HARNESS in May 1933, both Ann Harding and William Powell were well-established screen stars. Harding had been nominated for Best Actress for HOLIDAY (1930) and Powell was just a year away from THIN MAN triumph at MGM. Powell liked the script for DOUBLE HARNESS and was delighted to be working with Ann, an actress whom he truly admired. On screen their chemistry and rapport is the film's chief asset.
In his 2007 review of Double Harness SF critic/author Mick LaSalle stated, "Double Harness is especially precious because it is one more of a handful of first-rate vehicles for Ann Harding, who was perhaps the best actress of the early 1930s. Don't believe it? See her. Her technique is psychological, extremely modern." As with most Ann Harding films, the ensemble spirit prevails. Cromwell's direction is sleek. Ann's saucy, yet level-headed character targets wealthy San Francisco playboy Powell as if it were her "business" to do so. Powell finds her "coolly virginal, yet exquisitely inviting." He asks if she can be trusted. "Can you?" she replies. "In drinking, yes," he answers. Harding and Powell pull off the superb dialogue with seasoned charm and flair. Watch for the scene where Harding first goes up to Powell's apartment. She's wearing a gardenia corsage that Powell gave her- as they embrace, she exclaims "My Flowers!" She's about to be deflowered, as it were--a great double-entendre.
About the only thing that misses the mark is a slap-stick scene toward the end. A confrontation between Reginald Owen (the butler) and Wong Chung (the cook)comes off as a bit awkward. The finis itself, however, is quite touching. Highly Recommended.