How a 1933 romantic comedy defied convention with a scandalous ménage-à-trois
In short: Before strict censorship took hold in 1934, Ernst Lubitsch directed Design for Living, a daring pre-Code comedy about a woman caught between two men. Rather than choosing one, the trio attempts a platonic living arrangement, sparking a witty, unconventional romp that remains a landmark exploration of modern relationships on screen.
Released in 1933, Design for Living was a loose adaptation of Noël Coward’s 1932 Broadway play. While the original stage production featured sophisticated, cynical characters, screenwriter Ben Hecht and director Ernst Lubitsch transformed the trio into naïve, exuberant bohemians. This shift was a deliberate departure from Coward’s source material, leading the playwright to famously quip that only three of his original lines remained in the final film.
The film’s plot follows Gilda Farrell, who finds herself unable to choose between her two friends, artist George Curtis and playwright Thomas Chambers. To resolve the tension, they agree to live together as friends and muses, strictly avoiding sexual intimacy. Predictably, the arrangement falters as romantic and sexual entanglements ensue, eventually leading Gilda to marry an advertising executive, Max Plunkett, in a failed attempt to escape the rivalry. The film culminates in a chaotic reunion, with the trio ultimately deciding to return to their unconventional life in Paris.
Production was marked by significant casting shifts; Douglas Fairbanks, Jr. was originally slated to play George but withdrew due to pneumonia, leading to the casting of Gary Cooper alongside Fredric March and Miriam Hopkins. The film was a box office success, ranking among the top ten highest-grossing films of 1933. However, its risqué subject matter drew scrutiny from the Hays Office and later resulted in a ban by the Legion of Decency, as it pushed the boundaries of what was permissible before the strict enforcement of the Production Code.
Modern critical reception has been largely positive, with many viewing the film as a progressive and humane work that has aged remarkably well. While some contemporary critics felt the script lacked the elegance of Coward’s original wit, later assessments, such as those from The Independent and Polygon, celebrate it as a major pre-Code achievement. It remains a significant entry in Lubitsch’s filmography, capturing a brief, liberated moment in American cinema history.
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- Summary by Intellect · source: Design for Living (film)
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