don not change your husband be and on the one hand and the beginning of a series of lightweight marital comedy from cecil b. demille . on the other it be his first picture to star gloria swanson and probably the great actress of the silent era and and be the film which make her a star . although the old demille formula be begin to change and and his film be become wordy and less purely visual and with such an expressive performer a swanson we regain much of that silent storytelling style . her character do very little and but conveys volume through subtle gesture and facial expression with a particular talent for look of disdain . in real life swanson be herself come towards the end of her disastrous marriage to wallace beery and and it possible that this fact fuel her convince performance . a if to best complement his lead lady talent and demille use of framing and close ups be particularly strong here . he use cinematic technique to show off the act often hold swanson in lengthy close ups at key moment and also to clarify the story visually . for example and when we be introduce to the character of toodles and she be show reflected three time in a dressing table mirror . her character disappear from the story and only to become important towards the end . that attention grab first shot of her help u remember who she be . later and at the anniversary dinner and swanson and future husband number two lew cody be frame together in one shot and while elliot dexter be isolate in his own frame . also and this be a sign of the increase sophistication of cinema in general there be much use of reaction shot for example the disapprove glance of the bishop when cody act out his intention with the wedding figure doll . in contrast to demille visual narrative method be the increasingly verbose screen writing of his collaborator jeanie macpherson . a i have remark in several other comment and macpherson could put together a strong and dramatic story and but like demille she tend to state her theme in a somewhat pretentious and flamboyant style . and so we get these very long quasi philosophical title card about the pitfall of married life which and if they improve the story at all and it be only because they be unintentionally funny . for example and only jeanie macpherson could come up with a line like fate sometimes lurk in christmas shopping . fortunately though in this picture these title mostly introduce scene rather than break them up . although the picture he make around this time tend to be small scale and it be at this point that demille seem to develop his taste for the spectacular . you can see him start to sneak in excuse for a bit of razzmatazz like the little fantasy scene of swanson be shower with pleasure and wealth and love . it wouldn not be until the early twenty after the unofficial embargo on historical picture be lift that he would get the chance to go all out with the grand spectacle . all in all and don not change your husband be a fairly decent demille silent picture and although to be honest it be only really the presence gloria swanson that lift it above the average . it curious though that this be supposedly a comedy and and swanson be cast at least in part because of her background at mack sennett slapstick factory . she hat comedy acting and and here give a dramatic rather than a comic performance . it make sense then that the only straight drama she do with demille and male and female and be by far the strong of their collaboration .