User Reviews

...in this pre-code drama from RKO and director Victor Schertzinger. Adolphe Menjou stars as Army Captain Geoffrey Roberts. He's been having an affair while on leave with married socialite Alva Sangrito (Lili Damita). Her aristocratic husband Victor (Erich von Stroheim) blackmails Capt. Roberts for money in exchange for keeping the scandal quiet. When Roberts returns to active duty at a dangerous outpost, he is happy to see his friend Lt. Ned Nichols (Laurence Olivier), only to later learn that Ned is in love with someone: Alva! The two nearly come to blows over her, but circumstances may make her the least of their worries

This aims for an adult sophistication but often comes across more sensationalist and juvenile. Damita's character is barely more than a prostitute, and she gets a nude shower scene and some lingering dressing scenes. Olivier hasn't found his voice yet (this was made during his initial attempt to become a screen star, and before he became a stage triumph back in England), and von Stroheim alternates from reveling in his sadism to barely trying to get through his lines. Menjou is a smooth charmer, as usual. Fans of the performers should take a look, as well as those who enjoy seeing the pre-code boundaries pushed.

This film gets off to a great, weird, very racy Pre-Code start. In the first couple of minutes we are introduced to an adulterous young wife (Lili Damita) and her slimy, sadistic, blackmailing husband (Erich von Stroheim). You can't take your eyes off von Stroheim; his over-the-top performance is not exactly what you'd call great acting, but it gives the film its only real juice. Once he's—literally—out of the picture, we're left with a static, conventional, and uncompelling love triangle.

Others have already commented on Miss Damita's strengths (beauty and sex appeal) and weaknesses (no real acting ability), which I believe is a fair assessment of her contributions. Despite her physical charms, I found it difficult to believe that men would be driven to extremes of jealousy over her... which seriously undermines the main premise of the story. And when she chooses Adolphe Menjou over Laurence Olivier... well, that's REALLY straining the bounds of credibility!

Speaking of hard to believe, there's Hugh Herbert, making a pathetically inept attempt at a Scottish accent. (He went on to become a repeat offender, once again inflicting his bogus burr as Detective John McTavish in 1934's EASY TO LOVE). Herbert's recurring "business" about the women in his life gets very tiresome very quickly.

The biggest liability in the film is Adolphe Menjou, woefully miscast as the man who wins Damita's heart over all her other lovers, including a very young, very handsome Laurence Olivier. Scrawny, pinch-faced Menjou was over forty at the time (he looks even older); ludicrously, he is repeatedly referred to by various characters as "young man." It's obvious that the part was written for a younger, sexier actor. Had they cast someone more appropriate, the story would have had a lot more sizzle.

Though I rated the film only four stars, I'd recommend it to die-hard film buffs. Besides von Stroheim's memorable characterization, it's got a nuanced performance by the young Olivier, the lovely Miss Damita (and her equally lovely wardrobe), and some appealingly quirky scenes and performances. It's not great art, but it's good entertainment.

This is a wonderful pre-code pot-boiler with sterling performances from it's lead players, plenty of action and the man "You Love to Hate" Eric von Stroheim, at his most repellent best.

Look out for the outstanding shower scene for Lilly Damita, and listen to the sonorous magic of Laurence Olivier's voice, both reason enough to watch this little-known piece.

At 64 minutes, the most fun you can have in an hour of black and white.

A bit of a twist on the average love triangle story, this early American film adds in something to think about in terms of coincidences in life. Everything that happens, with characters meeting who have all been seduced by the same woman, is so reliant on convenient coincidences that it would almost be contrived, if it were not for the fact that the film is indeed about stories that sound contrived but are real, a point made clear by the discussions at the dinner table scene. The film is very talky, without much room set aside for establishing atmosphere, but the dinner scene is so intense that the lack of atmosphere elsewhere is almost forgotten, and there are a few stylish bits, such as a door opening slowly so that it cannot be seen who is opening it.

In a supporting role, Erich von Stroheim plays a central European porcelain collector who manipulates his wife into seducing British gentlemen so that he can later blackmail them. It seems a shame that he was not given a bigger part, because he has by far the most interesting character and he gives off the liveliest performance in the film, speaking slowly to toy with Adolphe Menjou, and moving about the place in such a cool, leisurely manner that one is constantly hanging on edge. Unbeknown to him, his plans go awry when it turns out that two of the men that his wife has seduced are old friends; this coincidence is obvious and too slowly played out, but the resulting initial resentment followed by acceptance that occurs between the two men is interesting to track.

The film looks like it may have been intended to be a satire, and the coincidences are sort of funny, however there's nothing comical as such about the film other than von Stroheim's appropriately domineering performance and the way that he talks - how he says "passion" with his accent comes out rather humorously. The film does not quite work as a satire, presenting more so things to think about then any definite message, and the transformations and motivations of Lili Damita's seductress character are never clear and seem a bit awkward. Damita herself is not exactly excellent in her role - she is visually striking, but never as charismatic as a femme fatale should be. The rest of the cast are generally fine, as is the overall production. It just falls a little short of being anything really special.

I'm a little surprised the average review score isn't a little higher for this pre-Code film, which includes some decent performances from Adolphe Menjou and 24-year-old Laurence Olivier, who play a couple of British soldiers who both love the same woman, played by Lily Damita. A twist on the love triangle is that Damita is married to a blackguard played by Erich von Stroheim, who not only knows about her affairs, but blackmails her suitors. Sure, there is some unevenness in the performance from Olivier, but there are flashes of brilliance as well. von Stroheim also turns in a good, somewhat over-the-top performance as the heavy, as does Frederick Kerr, a feisty old general who hosts a dinner party towards the end of the film. The biggest weakness in the film is Damita, whose acting is subpar and whose passion is so understated as to be not believable. The plot is a little melodramatic but it zips along at 68 minutes and is reasonably enjoyable.

Despite my low rating I must admit to really enjoying this creaky melodrama. The vote is because it's all very formulaic, stilted and stiff. Concepts of love and honor reflect Victorian morality which in itself was utterly unrealistic or even very real. I suspect that even today some people might be shocked to find a woman in a man's bedroom after hours and icily ask her to leave the house even though they were fully clothed but such mastodons were and luckily still are few and far between. But I digress. In the film it was necessary to spur our protagonists into yet another display of manly brotherhood and selflessness and to bring this sad example of bad movie-making to its not altogether unpredictable conclusion.

So what's to like? How can one not enjoy Adolphe Menjou, the epitome of the suave knave, paired off with Laurence Olivier in his fourth film, both doing their best with the weak material to steal their common scenes. It was delicious! Both were magnificent, both were divine and it was so much fun to watch. Especially memorable are the scenes where Olivier describes the cut of coat collar with a swoop of his hand that is pure Sir Laurence. And lets not forget Lili Damita who made up for her utter lack of talent by sensuously gliding through her scenes in her tight fighting, low-cut dresses, seemingly barely able to keep herself from devouring her next male victim.

Oh what a fun way to spend 68 minutes!

Apparently Maurice Dekobra was a prolific writer français, and had numerous works turned into short and full length films. and is still having his works made into films, even though he croaked in 1973 ! The always-debonair Adolphe Menjou is Captain Roberts, and when caught with the wife of prominent Sangrito (Stroheim), makes a payoff to him rather than fight a duel. and of course Hugh Herbert is in here for comedic effect. Lili Damiti is Sangrito's wife, and it turns out they have played this blackmail game before. But this time she doesn't want the money... she wants the Roberts, the lover. Damita herself had quite a life-story, according to wikipedia; married to Hollywood big-shots Michael Curtiz, then Errol Flynn. and her journalist son disappeared in Cambodia in 1970, never to be found. In our film, a very young Laurence Olivier is the interloper, also falling for Madame Sangrito. The story is pretty simple; the sound quality isn't so good... keeps going up and down. a couple awkward edits. and that ending. so abrupt. were some scenes cut or did the book really end like that? was pretty good overall, but the ending kind of left me feeling cheated. Some clever editing... how they switch from showing the male lead showering to showing us the female lead showering, artfully blocked, of course. This was prior to the film code being enforced, so i'm sure part of that was just for the tingle factor. Directed by Victor Schertzinger, who had started out as a musician. This is an RKO shortie, at 68 minutes.

Friends and Lovers was Sir Laurence Olivier's fourth film and first for an American studio in this case RKO. His first wife Jill Esmond was better known and RKO brought her over from the UK for a couple of films and Larry went along for the ride.

He was also appearing on Broadway in Private Lives so his film work in general was an afterthought. Friends and Lovers was something that better been left undone though.

I mean it is terrible, everyone in this drama is overacting completely especially the stage trained Olivier. Olivier was dismissive of all his film work before Wuthering Heights and he was hard on himself in something like Fire Over England. But here he was justified.

The plot has Lili Damita apparently making a living at seducing men of property and then having husband Erich Von Stroheim show up and demand financial remuneration for his cuckolded pride. It's an upper crust English version of what we in the USA call the old badger game. Her latest victim is Captain Adolphe Menjou set to leave for the Indian frontier the next day.

When Menjou arrives he finds out that an old army pal Laurence Olivier is to join him at the post. When Olivier arrives Menjou discovers he also was a victim and the friendship goes on the rocks.

Friends and Lovers goes downhill from there. I suppose its Hollywood's idea about the British upper crust. The whole thing is rather silly from my point of view.

I'm sure Erich Von Stroheim thought so too. He's guilty of the most overacting in the film. I think Von Stroheim thought he was taking advantage of the deficiencies of the script. Still the whole thing is pretty silly.

Hugh Herbert is here also. Oddly enough with a fake Scot's burr, he's at the most restrained I've ever seen him as Menjou's orderly. A little 'woo woo' might enlivened the film a bit.

Friends and Lovers is a curiosity for fans of the late Lord Olivier, anyone else be warned.

Captain Adolphe Menjou is on leave in London, where he has an affair with Lili Damita. Her husband, Erich von Stroheim demands hush money, and has blank checks from Menjou's bank for him to sign. Menjou returns to India, where green officer Laurence Olivier has also fallen in love with Miss Damita, and is ready to fight Menjou, who holds him off with military etiquette and,when there's a rebellion in hills, sends Olivier off to deal with it.... and then rides off alone to rescue him.

Victor Schertzinger directs this as mostly a series of interior scenes, a play about the friendship of men, and how von Stroheim deserves to die. Despite a cast that includes Frederick Kerr, Hugh Herbert, and Kay Deslys, it remains stodgy through the end.

Though I don't rate Friends and Lovers (1931) high based on my harsh rating scale, I give credit where it is due. Friends and Lovers is a perfect example of how I feel films should have been made in the early 30s---condensed. (This comment/review, however, will not be.) The film, including titles, is 68 minutes long, yet it tells an engaging cohesive story with several locations, people, costumes, events, passage of time and action without weighing it down with the fluff that movies were full of during that period. By fluff I include but am not limited to: extended reaction shots, excessive beauty shots, far off stares (see Greta's films), eyebrow movement shots (see Norma's films), mouth and lips parting shots (see Irene's films), unnecessary walking, unrelated dialog extending screen time for the stars, etc. Yes, this movie does have a few gratuitous fluffs but it doesn't tack on an entire hour showing them. The movie doesn't feel "glossy"; instead, somehow, it feels real.

The studio was unstable bankrupt great depression era Selznick helmed RKO. Director Victor Schertzinger, who had been in film since the first moving frame, pulled poignant performances from his cast and provided the music. DP J. Roy Hunt strapped to RKO through all of its phases provided believable lighting for B/W film through many types of scenes both indoors and out, as well as smooth camera movement and action. Adolphe Menjou survived the silent years to give a decent performance as obsessed, possessed, ardently pining Geoff, Larry Olivier makes his stiff and subtle Hollywood debut in a fair size role as Ned, Lili Damita also from the silent era wasn't a blazing beauty or brilliant actress but she did her part allowing her accent and body to do the rest as Alva, Erich Von Stroheim though a little cheesy made being a sadistic and evil porcelain collector seem lucrative and fun as Victor, and Hugh Herbert as McNellis, trying not to trip over his on and off again accent, bounced through the film offering humor here and there to keep the viewer's emotions connected.

Film making is all about taking the viewer in, cold from the street with their own world in their mind, connecting with their emotions and transporting them to another place and time, taking them on an emotional roller coaster ride until the film is through. If at any time the coaster slows or stops, the viewer has time to realize themselves again, even if only subconsciously, and the film has lost them. If picked up again, the viewer must start over emotionally with the story. Condensing this film down to 68 minutes keeps the viewer's attention the entire time. The overall ride may be short, the sets may be cheap, the acting may not be the best, the plot may be thin, the music may be shallow, the dialog may be simple, but tell a story that efficiently and the viewer doesn't notice while watching. Should the viewer notice, it's not considered long because the next sequence is already speeding along with fresh new things for the brain to process. Plot of the film is simple on the surface though it has a few morality testing twists and turns. For what they had to work with, the plot was kept clean and cohesive, the shots were tight, the camera action was appropriate, the cinematography and lighting was believable, the sets weren't spectacular but scenes didn't last long enough to pick them apart, the tension was there, the emotion was heavy, the beauty was shown, the dialog was believable and the actors sizzled.

So much happens at a comfortable pace that I never once got bored or thought about anything else other than the film. I ignored a ringing phone. I ignored portable electronics. The film was paced so well that I didn't want to look away. I was completely surprised by how enjoyable the film was to watch, unlike so many pre-code early 30s films I have suffered through. (I'm an elitist film snob, so I will watch a terrible film just so I can say w/o any doubt I hated it.) If there is so much fluff in a film that I sit there and start counting how many steps the actress is making across every single room, on every single street, up every single stair and then start counting their stares, far off looks, exaggerated baby spot lit soft shots, and on top of it listen to senseless dialog that does nothing to forward the plot but included just so that the actress/actor is getting a certain percentage of screen time, I feel I'd rather have a root canal without anesthetic rather than sit through the rest of the film. For me to sit through an entire early 30s film without moving or thinking of anything else means the film is very special in some way.

In retrospect, I wonder: the novelty of the talking pictures was new, but it does make me wonder if viewers really loved the long lingering shots of the starlets or if they tolerated them. Did they expect them because they were paying money to be visually entertained? Does length equal value? According to rumor, the film lost $260k at the box office, though IMDBpro, AFI, or BFI don't offer any budget or salary info. Perhaps Friends and Lovers was shot with the same early 30s heavy fluff monkey on its back but given to a gifted editor that said NO to fluff. Regardless, this is a very rare 68 minutes that I was happy watching a pre-code film, and for anyone like me who barely tolerates movies of the early 30s because of the unnecessary fluff, give this one a watch. It's not the best film in the world, but 68 minutes isn't long in comparison to 2 hours of Norma's eyebrows going up and down.

The FRIENDS AND LOVERS of a duplicitous female nearly have their lives destroyed by her wicked ways.

This well-acted piece of fluff makes no attempt at serious entertainment but manages to engage the viewer nonetheless, mainly because of its unique cast.

Lily Damita plays the sultry vamp who has no difficulty in enticing every man she meets. She is the female star of the picture, but her character is completely detestable. It says nothing positive about the moral discernment or intelligence level of the lead male players in the film that they are so completely seduced, for a time.

Adolphe Menjou and Laurence Olivier play the two British officers, firm friends, who both fall into Damita's web. Making no pretense at behaving British, Menjou plays the debonair captain who must decide between carnality & comradeship. Olivier, who looks astonishingly young (he turned 24 in 1931) is bright & energetic, projecting shadows of the future Lord Olivier as he advises Menjou as to the proper cut of tailored lapels.

Whimsical Hugh Herbert puts his gentle humor to good use as Menjou's Scots valet. Acting as a sort of Greek Chorus to the proceedings around him, he easily steals most of his scenes. Erich von Stroheim, that Teutonic master of menace, dominates the screen with a cunning portrayal of Damita's vile husband. Like an uncoiled snake ready to strike, von Stroheim slithers about the screen, alert to deliver the maximum discomfort to his victims. As always, he is a joy to watch. Alas, that his role is so brief.

Frederick Kerr as a boisterous old general, and Blanche Frederici as his straitlaced titled sister provide a few moments of sparkle at the end of the film.

The action during the scenes set in India takes place entirely within the walls of a rather dull fort. The Studio, Radio Pictures, apparently were unwilling to spend an extra dime on ambiance.

In London, suave British officer Adolphe Menjou (as Geoffrey Roberts) begins an affair with shapely blonde Lili Damita (as Alva), unaware she and sinister husband Erich von Stroheim (as Victor Sangrito) are infidelity-brewing blackmailers. As Mr. Menjou leaves for assignment in India, Ms. Damita reveals she has fallen in love with Menjou, and refuses to milk him for more money.

Handsome young lieutenant Lawrence Olivier (as Ned Nichols) joins Menjou in India, and reveals he has likewise fallen in love with a beautiful woman, who turns out to be (you guessed it) Damita. The woman really gets around. Damita takes a shower and gets whipped by von Stroheim. The film ponders, "Is the friendship between two men more important than a woman's love?"

If you're interested in the cast, this may be a melodramatically fun film, despite being wholly unconvincing. With his fine "talking pictures" voice, Menjou was extending his debonair leading man career, but he is much too "long in the tooth" for his role herein. Olivier, in his first "Hollywood" film, is conversely way too "wet behind the ears". Damita shows skin and appears stilted.

**** Friends and Lovers (10/3/31) Victor Schertzinger ~ Adolphe Menjou, Lawrence Olivier, Lili Damita, Erich von Stroheim

This is the sort of film that got RKO Radio studios into financial trouble. It has a great cast: Damita, von Stroheim, Menjou, Olivier. The plot is predictable, and the story threadbare. I doubt if there were many more people in the 1930s who were turned on by this kind of melodrama as there are now.

A porcelain collector uses his younger wife to ensnare rich army officers, so that he can blackmail them. Two officers, serving in the British army in India, find out that they are both in love with this same woman. That is the plot in a nutshell. The saving feature of this film it to witness some pretty good acting performances. Apart from Hugh Herbert, whose Scottish accent slips like a postman in the snow and sounds about as authentic as the MacFarterchops tartan, the rest of the cast turn in some pretty good performances. Von Stroheim's performance is weird; but then again he is playing a weirdo. Menjou turns in a competent performance - as he always does. Olivier is subtle: you have to watch him carefully to fully appreciate what he does. The same can be said for Damita. Yes, it's great to have a sophisticated leading lady who doesn't mind getting her kit off; but watch her performance next to Olivier in the dining table scene. Further down the cast, the pair who play the general and his sister turn in good performances, too.

The performances of the cast rescue this film, which is of its time. It is watchable.

The film has such great actors in it playing perfect characters that show off their talents.

Adolphe Menjou is a man that has had MANY female conquests. He falls for Damita, who is married to Stroheim. When Menjou goes to Stroheim to ask him to release Damita from their marriage, it turns out that Stroheim uses Damita to seduce men and then he blackmails them to keep the scandal silent. Stroheim is the perfect slimy type as he acts so polite and nice to everyone, while being purely manipulative and sleazy behind it all. Menjou is so upset because he thought Damita really loved him. He is also upset because he is a "man of the world" and, before this, he has never let a woman use him in such a way. He thought he had a sixth sense for such phony women.

With his ego shattered, he goes back to the serve out his time in India in the Royal Army. A good friend arrives, played by Olivier. Olivier is so young and charming in this film. He is not playing the dark and brooding type of characters I am used to seeing as. I almost did not recognize him.

Some of the best scenes are the ones where Menjou and Olivier interact. The strong friendship is very real. But it all is put to the test when Menjou finds out Olivier is Damita's most recent conquest and is being set up for a fall.

I won't spoil the rest but the film does a great job of exploring which is stronger - Love or Friendship. Romance? Or Bromance? Which will win out?

I have never heard of this film and it is another treasured find that I now recommend for you to enjoy.

Lili Damita plays an exotic temptress married to vicious Von Stroheim, who uses her to lure rich men, in order to blackmail them later...He's sort of a higher class pimp, 'cos the guy sort of sells her wife's favors.

Adolphe Menjou and Larry Olivier are two of these men, who happen to be friends. Man-of-the-world Menjou does very well with his role of Captain Richards and a very young and dashing Laurence Olivier, is good as well as the more "naive" guy.

Von Stroheim's short moments on the screen are excellent, because he can portray at very close perfection, that sort of middle european aristocratic decadence. Kudos too, for Hugh Herbert's sympathetic performance as Menjou's valet.

Miss Damita (later to be Mrs. Errol Flynn) has poise but lacks acting talent, but is anyway alluring as the tempting lady.

If you like pre-codes, watch it.

Cardboard sets on the back of the studio lot, a shocking opening scene between Menjou and Damita, terrible dialogue, poor structure, a plot i didn't care to follow and a cliche concept (love triangle). Menjou (from Paths of Glory) is fairly dreary, his camp cliche conversations with Olivier seemed to stretch the movie out interminably, quite a feat for a movie barely an hour long, and the woman is beautiful, but not really an actress. In truth, there is only one element which rescues this movie (and even then only the scenes this particular gentleman is in), and that is, or he is, Erich von Stroheim.

Nobody made being evil look as much fun as Stroheim. Von plays the scheming evil husband of Damita who blackmails her lover, Menjou, to do what i can't remember (even though i just watched it - which perhaps says something about the significance of the plot). Von gives this material the seriousness it deserves (not much), which ironically results in his saving the picture. He plays the husband as a broad comedy character, replete with evil laughter. I noticed him almost choking on some of the dialogue its so ridiculous, but there was also some really great fun dialogue in his scenes, which i can't really remember either, except this:

Menjou: Blackmail! Stroheim: Blackmail is such an... ugly word...

Stroheim (explaining why he's just read a love letter addressed to his wife from another man): I am a romantic. I enjoy reading other people's letters, doesn't everybody?

After the first scene when Menjou and Damita are alone together you've totally written the whole movie off as being able to be taken seriously - but when Von Stroheim appears as the malicious husband, which he plays with flair and humour, all of a sudden you feel this wonderfully trashy facade of a film is actually quite fun. And it is - mainly only Von's scenes and those that comedian Hugh Herbert, playing Menjou's servant, are in.

Little-known actress Lili Damita plays the woman every man in this picture is fighting over - and for once, i can understand all the fuss! She's absolutely radiant, really sexy. One of the most beautiful people i've ever seen. She has a racy shower scene where the side of her breast can be seen (i'm not kidding) and a scene where she's getting dressed. These are the luxuries afforded by a pre-code film (1930-1934 i think).

The down side to movies from this period is the cardboard-sets, talk-instead-of-cinema nature of them. Aside from the wonderful films of Lubitsch and anything Carole Lombard is in (and Riefenstahl's The Blue Light, perhaps), films from this period are quite poor. They've thrown away everything that was good about silent pictures, and haven't yet learned how to incorporate dialogue well, so what we have are filmed and edited stage plays.

Watch out for Lawrence Olivier at 24, in his third ever film, who's so slender, high-voiced and camp he's almost feline. This is not a significant film for anyone involved - the only reason it is notable is probably Olivier (if he's your cup of tea), being one of his first movies and probably his first major role.

Friends and Lovers (1931)

** (out of 4)

Disappointing pre-code about Captain Roberts (Adolphe Menjou) who falls in love with a woman (Lili Damita) already married to a sadistic man (Erich von Stroheim). The husband blackmails the Captain and he goes away but soon he learns that his best friend (Laurence Olivier) has also dated and loved the woman. The two friend make a vow to both turn their backs on her but soon they run into her at a party and all bets are off. Considering the amazing cast one can't help but call this a major disappointment because even at just 66-minutes the screenplay simply doesn't have enough going for it to make things interesting or believable. I think the biggest problem is that the screenplay is so over-dramatic that at times you can't help but roll your eyes and wonder if the cast knows how silly things are getting. The perfect example of this is when the two men sit wounded from a battle and burn the pictures of the woman they both love. The dialogue during this sequence is just plain bad and seems to be spoken by teenage boys and not distinguished men. Another problem is that the woman isn't a very sympathetic character and yet it really does seem like the screenplay wants us to pity her and feel sorry for everything she's involved in. The stuff dealing with her abusive husband takes a rather odd twist towards the middle of the film but it frees up everything that follows, which again comes off way too dramatic. I won't ruin the final sequence inside a bedroom but it goes a tad bit too far and just comes off rather fake. The performances are also a mixed bag but there's no question that Menjou steals the film as a grieving lover. I thought the actor came across quite distinguished and really made you feel for the character. Another positive aspect to the performance is the fact that we could feel the pain he's in without him having to say a word as Menjou's perfect face really tells all the emotions he's feeling. Damita is also pretty good in her role, although at times I kept asking myself if she was trying to do a Greta Garbo impersonation. von Stroheim is wickedly fun as usual and we even get Frederick Kerr who also appeared in FRANKENSTEIN the same year. It's been said that Olivier's earliest American films were quite embarrassing for the actor and although I wouldn't go that far there's no doubt that he's out of his elements here. The performance is quite stagy and it doesn't help that Olivier goes so over-the-top with some of his facial gestures and body movements. FRIENDS AND LOVERS is quite boring even with its more racy plot elements. It's certainly not every film that featured a married woman going out with various men but the racy elements don't make a movie and in the end this one here just doesn't work.