In a daring piece of showmanship, Metro presents the one-time queen of mystery in a wild, and occasionally very risque, slap farce entitled Two-Faced Woman. That the experiment of converting Greta Garbo into a comedienne is not entirely successful is no fault of hers. Had the script writers and the director, George Cukor, entered into the spirit of the thing with as much enthusiasm, lack of self-consciousness and abandon as the star, the result would have been a smash hit.
There is no holding back Garbo when she steps down from the serious dramatic pedestal and has her fling with broad comedy. Melvyn Douglas is an excellent foil. Much of the action takes place in bedrooms, boudoirs and the psychological proximities of both.
The story, which was taken from a play by Ludwig Fulda, is one of those naturalized importations from the Continent wherein the wife masquerades during most of the film as her own twin-sister just to test the fibre of her husband’s adoration. There’s a double entendre to nearly everything that is said between the two, and nearly everything is said.