On Approval

The film opens with a comedic documentary-style prologue that contrasts current war conditions in England with life in 1939 and the Victorian era. This juxtaposition sets a satirical tone for the social comedy that follows and hints at timeless human concerns amid upheaval. The narration frames the characters' priorities as a counterpoint to national turmoil.

George, the 10th Duke of Bristol, and his friend Richard Halton are portrayed as poverty-stricken members of the British upper class. They attend a party at George's London home, which has been let to the young, wealthy American Helen Hale. The gathering exposes social games and unspoken desires among the guests.

During the party, George is rude to Maria Wislack, a wealthy widow with whom he is acquainted. Richard is genuinely in love with Maria but will not reveal his feelings because of his poverty. The scene deepens the personal tensions beneath the surface of polite society.

Helen Hale is secretly in love with George but finds marriage to him distasteful. She privately advises Richard to assert himself and even tells him to 'go to hell' if pressed by Maria. Her mixed loyalties inject a sharper edge into the love triangle.

Maria proposes that she and Richard spend a month together as man and wife in Scotland 'on approval' to test their compatibility, effectively turning courtship into a test of endurance. George, though uncomfortable, invites himself along. Helen unexpectedly joins the plan, turning it into a joint, uneasy expedition.

In Scotland, the unexpected arrival of additional unmarried guests unsettles Maria's household. Mrs. McCosh, Maria's housekeeper, departs with all the household servants, leaving the two couples to fend for themselves. The lack of staff heightens the improvised dynamics and comedic potential of the stay.

Richard tries to please Maria under strained circumstances, but his efforts are complicated by Maria's evolving behavior and the absence of servants. Helen privately counsels him to assert himself, signaling a shift in power dynamics within the improvised household. Tensions simmer as the month unfolds.

At the end of the three-week test, Maria tells Richard she is willing to marry him and even offers £5,000 per year. Richard realizes this is not a genuine test of love but a reflection of Maria's normal behavior. He rejects the proposal, recognizing that the arrangement lacks true compatibility.

Simultaneously, George decides that he loves Helen and asks her to marry him. After getting to know him better, Helen suggests that he marry Maria instead, believing the two are more compatible. Her candid assessment changes the trajectory of the pair's relationships.

Feeling sympathy for Richard, Helen and he decide to leave Maria and George alone together. They depart in the house's only boat, hoping to escape the awkward triangle. Richard leaves a one-word note, Ho!, as a最後 farewell to the situation.

The lovers' escape is followed by nightmares about George and Maria alone in Maria's house. They row back in the middle of the night, but no one answers the door upon their return. Richard climbs to Maria's bedroom window and, to everyone's shock, finds Maria frightened and rushing to George's room.

Helen and Richard finally locate George and Maria in the same room, unraveling the pretense of the perfect match. The confrontation is comic yet revealing, as the true relationships among the four are exposed. The narrative moves toward an unconventional, hopeful resolution.

In a later flashforward, Helen shows a family photo album to her two sons. The narrator corrects him, addressing her as Lady Bristol, and she reveals that she has married Richard. George, endearingly, is with Maria. The ending ties the fates of the central characters to a mature, lasting complication of love.