It’s possible a more engaging narrative could have emerged if at least one of the women competing for millionaire "Ben's" (Johnny Mack Brown) attention had someone worthwhile to pursue. The collection of fairly indistinguishable, affected men presented as potential suitors prompts speculation about why they didn't simply choose each other. However, that would’ve undermined the central motivation: marrying into wealth. Consequently, the spirited and energetic "Diana" (Joan Crawford) targets our hero, who lacks charisma, only to discover that the more calculating "Ann" (Anita Page) is employing a subtler strategy toward her objective. While society approves of “Diana,” they don't consider her suitable for marriage, and predictably, "Ben" selects the path of least resistance. Following the wedding, he starts to question his decision; his wife proves to be a pampered, hard-drinking, and generally disagreeable woman who flirts with the attractive but youthful "Freddie" (Edward J. Nugent). The situation escalates when "Diana" announces plans to spend a year or two in Europe, and her sister “Bea” (Dorothy Sebastian) hosts a farewell party. Fueled by alcohol, truths surface, leading to tragic consequences. The plot is somewhat fanciful, and the characters largely embody clichés of affluent, self-centered individuals—but it’s evident from the beginning that Crawford dominates. Her expressive energy, vibrant dancing, and charming facial expressions demonstrate her command of the screen, suggesting a promising future for her career. The cinematography effectively conveys both the happiness and intensity of the story as this depiction of 1920s discontent and societal expectations unfolds.

Source on TMDB