Ex-Lady (1933)

Ex-Lady feels bracingly modern for 1933: a romantic comedy with real bite, set in a sleek New York world where love, work, and pride collide without anyone pretending it’s simple. Bette Davis, in her first starring role, gives Helen Bauer a spark of intelligence and defiance that makes the film hum—she’s glamorous, yes, but also stubbornly human, and the story respects that. Director Robert Florey keeps the tone nimble and sophisticated, letting the flirtation and friction play like adult conversation rather than moral lecture, even when the choices get messy. It won’t be for viewers who want their old-Hollywood romance purely cozy or conventional, but if you’re curious about a pre-Code film that treats marriage and independence with surprising honesty, this one is a lively little revelation.

Ex-Lady is clearly trying to sell a then-modern, pre-Code romance about a career woman testing the limits of marriage, and it deserves some credit for giving Bette Davis a sharp, self-possessed persona to play. The problem is that the story often slides into soapier melodrama than witty comedy, with relationship turns that can feel more convenient than convincing. If you’re hoping for a sparkling screwball pace or a boldly radical take on open relationships, this may strike you as a dated, slightly “lame little” morality loop that talks progressive but lands safely. Still, if you enjoy early-’30s studio polish, frank-for-its-era adult situations, and watching Davis command the screen even when the script wobbles, it’s an easy, short curiosity.