The Crimson Playgoer
Character Development and Dialogue Make "What Every Woman Knows" An Important Film
With the powerful punch of Professor Ferguson ready to deal us a technical knockout this morning in his Hour Examination on Greek History, we are not sure that a knowledge of "What Every Woman Knows" was essential preparation. Persian Ware and Dorian invasions, however, are completely overwhelmed by "Helen Hays and Brian Aherne.
For "What Every Woman Knows" develops its characters in a thoughtful way which has only been equalled this year by "The Barretts of Wimpole Street." In the role of the understanding Scotch girl, Maggie, who is guiding the career of her legally won husband, Miss Hayes never loses a sense of reality. She even allows you to have a few glimpses of the possibilities of her character in the opening scenes so that her later actions appear logical and natural.
Brian Aherne gives the type of self-confidence to John Shand which demands a supplementary foundation, such as Maggie. In addition, neither of them rely solely on action; good dialogue accompanies the action and gives them both a chance to demonstrate all of their talent.
The other feature, "The Richest Girl in the World," contains Miriam Hopkins for whom we have always kept a sneaking admiration. This time she finds herself in another pleasant but ineffectual story where mistaken identity brings her suitably to the brink--but just to the brink--of emotional disaster. Nevertheless, that subtle leer in Miss Hopkins voice is still a better bid for seduction than the weapons of most of her contemporaries.