Even by 1942 standards of movie-making the setup which HER CARDBOARD LOVER presents was dated to the extreme. The machinations of one half of a pair (of husband/wife, ex-husband/ex-wife) to get the other back at the threat of marriage to another, divorce, or an eventual separation by means of jealousy, humiliation, or other schemes had been done much better in classics such as HIS GIRL Friday and THE PHILADELPHIA STORY. Both of these movies features women with a strong, indomitable screen presence and who played independent, proto-feminist characters. In both movies, both women were estranged/divorced from their (witty) first husbands and set to marry colorless men who were their exact opposite, and both would be bamboozled into rejecting their soon-to-be husbands and re-igniting their passion for each other.<br /><br />The plot in HER CARDBOARD LOVER switches the gender: here, it's Norma Shearer in the Cary Grant role out, this time, to ward off an ex-boyfriend (George Sanders) by means of hiring Robert Taylor to pose as her gigolo. The problem is, Shearer is much too old to be playing a role more suited to an actress in her mid-to-late twenties; Sanders is about as involved as a piece of furniture for the most -- any man who would be in love with his fiancée, on seeing a strange man come out of her bathroom as happens here, would knock the lights out of him and cause a huge scene. Not here. And Robert Taylor plays his part as if he were trying to channel Cary Grant half the time, not in speech inflections but in overall essence.<br /><br />But the worst part of it is Shearer herself. For an actress used to parts which gave her a sense of intellectual sexiness and dramatic presence, playing Consuelo Craydon seems to put her into throes of complete over-acting, over-emoting, and over-gesturing which, while still a part of her style of acting and more appropriate ten years earlier, makes her look like an extremely mannered performer wrenching the joke out of a situation like water from a fairly dry sponge. It only fuels the fires that tell the theory which gives Irving Thalberg the maker of her career and chooser of (most of her) roles; why she passed on roles such as Charlotte Vale and Mrs. Miniver on mega-hits NOW VOYAGER and MRS. MINIVER is a mystery, but then again, most accounts also state that by this time she had just burnt out from acting, that she'd had lost interest in the whole thing altogether and it's no secret that anyone who has experienced this sort of thing has essentially lost focus and can't wait until retirement or the end of a contract is near to leave as soon as possible. Such could be the case here. She seems lost, she seems tired, she seems ill at ease, going through autopilot instead of living the part. After this film she would make no more, but would be responsible of discovering Janet Leigh who would come into her own as a screen star during the late 40s and into the 60s.