"A Bill of Divorcement," a 1932 American pre-Code drama film directed by George Cukor, stands as a significant work for several reasons, not least among them being Katharine Hepburn's film debut. Based on a 1921 British play by Clemence Dane, the movie delves into complex themes of mental health, societal expectations, and the impact of family history. The original play was a reaction to a specific British law passed in the early 1920s that allowed
insanity as grounds for a woman to divorce her husband, providing a potent backdrop for the film's narrative.
The Unsettling Return of Hilary Fairfield
The film's plot centers on the Fairfield family, particularly middle-aged Englishwoman Margaret "Meg" Fairfield. Her family includes her 15-year-old daughter Sydney, who is engaged to Kit Humphreys, and Meg's own fiancé, Gray Meredith. The narrative is complicated by the long-absent figure of Hilary, Meg's ex-husband, who has been institutionalized for 15 years due to mental illness. A disturbing undercurrent is the suggestion that Sydney may have inherited Hilary's psychiatric problems, creating a sense of impending doom for the family.
The tension escalates on Christmas Eve, as Meg hosts a party at her English manor. Sydney and Kit happily discuss their future, as do Meg and Gray. A seemingly innocuous moment, when the group dedicates a performance of "God Bless the Master of This House" to Gray, is disrupted by Hilary's sister, Hester. Hester objects, insisting that Hilary remains the true master of the house, despite his condition. This scene subtly highlights the lingering presence of Hilary and the societal expectations surrounding his role, even in his absence.
The Revelation and Its Consequences
Christmas morning brings a dramatic turn of events. While Meg and Gray are at church, the asylum calls to report that Hilary has gone missing. In a moment of unintentional revelation, Hester informs Sydney that insanity runs in the family. The family had previously attributed Hilary's issues to shell shock from World War I, but it becomes clear that a history of similar problems exists within the family line. This revelation profoundly impacts Sydney, forcing her to confront a potential future mirroring her father's past.
Hester and Sydney discuss Hilary's talent as a composer, with Sydney playing an unfinished sonata Hilary had written before the war. Shortly after, Hilary returns home, having escaped the asylum. He engages in a heated conversation with Sydney, revealing their shared sensitivities and free-spirited natures, further cementing the idea of an inherited predisposition. Meg's return from church is met with shock as she finds Hilary. She has not loved him for years and is frightened by his presence, having relied on her upcoming marriage to Gray, who helped her secure a divorce based on Hilary's insanity. Hilary, however, assumes Meg will welcome him back, unable to accept that their marriage ended long ago.
A Daughter's Sacrifice and a Father's Realization
The gravity of the situation intensifies when Hilary's family doctor arrives. In Sydney's presence, the doctor admonishes Hilary, stating that his children should not have been born, a devastating pronouncement that directly impacts Sydney's future. This moment forces Sydney to re-evaluate her own plans with Kit. After the doctor explains the risk of her children inheriting Hilary's mental problems, she makes the difficult decision to break her engagement and send Kit away, sacrificing her personal happiness for the perceived well-being of future generations.
Hilary, meanwhile, vacillates between accepting Meg's love for Gray and pleading with her to change her mind. Meg, under pressure, initially succumbs. However, when Hilary witnesses her talking with Gray, he finally grasps the depth of her love for Gray and her profound unhappiness. This realization marks a turning point for Hilary, as he regains his will to do what is best. He instructs Sydney to send Meg and Gray away. When Sydney returns to Hilary, they share a tearful embrace, agreeing to live together. The film concludes with them sitting at the piano, cheerfully experimenting with new endings to his sonata, a piece Sydney had been unable to finish alone, symbolizing a new, albeit bittersweet, beginning for the father and daughter.
