A major movie star during the silent era, Gloria Swanson had made a relatively successful transition to the sound era (even garnering an Oscar nomination for The Trespasser in 1930), though her career never reached the height it had in the mid-1920’s when she was the highest paid actress in Hollywood. In 1933, Laurence Olivier, at just 25, was at the beginning of a career that would see him regarded by many as one of the greatest actors ever. Swanson and Olivier would co-star in Perfect Understanding, an excellent opportunity to watch two major talents working together at two very different points in their careers.

Gloria Swanson co-produced Perfect Understanding, setting up a production company in England to make this film about a newly married couple and their attempt to succeed at a modern, open partnership. Brit Nicholas Randall (Olivier) and his American wife Judy (Swanson) agreed to marry on the condition that they both agree to the “perfect understanding” that allows both parties total freedom without jealousy. While honeymooning across Europe, Judy decides to return to England while Nicholas heads to Cannes for some fun with mutual friends. On one drunken night, he ends up sleeping with an old girlfriend, the married Lady Stephanie Fitzmaurice (Nora Swinburne). Upon his return to England, Nicholas confesses his indiscretion to Judy, who seems to forgive him. In reality, she finds herself unexpectedly upset.

Perfect UnderstandingSeeking comfort, Judy finds herself enjoying a flirtatious (but platonic), relationship with the eligible Ivan Ronnson (John Halliday). When Ivan confesses her love for Judy, she is moved to down her feelings in a letter eventually discovered by Nicholas. Under the impression that his now pregnant wife is having a sexual affair with Ivan, Nicholas files for divorce. Will their marriage, initially based on the “perfect understanding” survive the tumult?

The script (co-written by an uncredited Michael Powell) is fairly predictable “rich people have problems too” stuff, but the solid acting elevates the material a bit. Swanson’s enormously expressive eyes and striking profile tell you what her character is feeling at any given time. Laurence Olivier’s role doesn’t give him a chance to shine, but the succinct way he delivers his lines will be familiar to any who knows his work. The delightfully sophisticated John Halliday is particularly good as Oliver’s rival for Swanson’s affections.

Presented in the 1.34:1 aspect ratio, Cohen media has provided another notable transfer. Understanding that this is a lightly regarded film from 1933, the restoration job is very solid. Print damage is relatively minor, with some light scratches. Blacks are quite glossy for the most part, but there are a few moments where things look a bit washed out. There are also a couple of missing frames, though nothing that distracts from enjoying the film.  Though they’ve only released a handful of titles thus far, the Cohen Film Collection transfers continue to impress.

Perfect Understanding features an LPCM Mono track delivered via LPCM 2.0. Unfortunately, the audio has some undeniable issues. There are several times throughout the film where dialogue becomes extremely murky with a noticeable hiss. The problem is exacerbated by a lack of subtitles offered on this release. Hopefully, Cohen will rectify this on future releases from this era.

Two Mack Sennett shorts from 1933 are included:

  • Dream Stuff (HD, 19:50)
  • Husbands’ Reunion (HD, 19:12)