In this Hungarian version of Elinor Glyn's story about wild times when the husband's away, most of what I noticed was lush sets and overacting. My acquaintance with Hungarian films in this period is very limited: one film by Michael Curtiz covers it. Yet there was a Hungarian film industry, with at least three studios, and Márton Garas has respected in the industry at the time. He is credited with turning Anna Karenina into a film. Perhaps it is the overt sexuality that appealed to him and the national audience. Even though nothing is too outrageous, the woman does lounge on a tiger skin, and her lover does try to crawl beneath the hem of her floor-length dress at one stage.

Mrs. Glyn, having failed with sentimental shopgirl novels, succeeded with this one. Her credits stop abruptly in 1930, although she lived until 1943. Perhaps the overt sexuality of the pre-code era overwhelmed this sort of piffle. Or perhaps she woke up, realized she had enough money without being a 66-year-old purveyor of vamps and decided to pack it in.

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