In Ernst Lubitsch's *Design for Living* (1933), tension is primarily derived from the constant struggle between sexual desire, bohemian freedom, and the rigid social conventions of the era.
The following scenes are the most tense, detailed by their build-up and specific moments of conflict or intimacy.
### 1. The "Typewriter" Reunion (Tom and Gilda)
This is widely considered the most sexually charged scene in the film.
* **What Preceded It:** After the trio’s initial "gentleman’s agreement" to stay platonic, Tom (Fredric March) moves to London to become a successful playwright. In his absence, Gilda (Miriam Hopkins) and George (Gary Cooper) break the agreement and move into a luxury penthouse together. Tom returns unannounced after months away, finding Gilda alone while George is away on a commission.
* **Specific Moment:** Tom finds his old, rusted typewriter in their new, expensive home. The tension is thick as they dance around their mutual attraction and their "betrayal" of the agreement. Gilda begins fiddling with the machine, sliding the carriage back and forth.
* **The Tension:** The typewriter becomes a blatant sexual metaphor. Tom accuses her of not "oiling it," and Gilda seductively slides the carriage until it makes a sharp *ding*. She whispers, **"It still rings,"** to which Tom replies, **"Does it?"** before the scene fades to black, indicating they have immediately rekindled their affair.
### 2. The "I Am No Gentleman" Scene (George and Gilda)
This scene marks the first time the trio’s "gentleman’s agreement" is shattered.
* **What Preceded It:** Gilda has convinced Tom and George to live with her as "mother of the arts," acting as a critic and muse while they remain celibate to preserve their friendship. However, as soon as Tom leaves for his play's premiere in London, the domestic balance is thrown off.
* **Specific Moment:** George and Gilda are alone in their small Parisian apartment. George is visibly restless, pacing the floor as Gilda tries to maintain her role as a stern critic. The tension breaks when George finally grabs her and kisses her.
* **The Tension:** Gilda makes a half-hearted attempt to remind him of their pact, but then reclines on the couch and purrs, **"It’s true we have a gentleman’s agreement, but unfortunately, I am no gentleman."** The tension here is the release of long-repressed desire, but it is undercut by the looming guilt of betraying Tom.
### 3. The "Tuxedo for Breakfast" Confrontation
This is the peak of the film's dramatic tension, as all three characters are forced to confront the reality of their triangle.
* **What Preceded It:** After spending the night together following the "typewriter" reunion, Tom and Gilda are lounging in the penthouse when George suddenly returns from his painting trip earlier than expected.
* **Specific Moment:** George enters to find Tom wearing his pajamas and eating breakfast. The dialogue is sharp and fast, with Tom trying to act nonchalant about his presence. George’s initial shock turns into cold fury as he realizes both Gilda and Tom have been "making love" behind his back.
* **The Tension:** The scene is a masterclass in the "Lubitsch Touch," using polite, sophisticated dialogue to mask deep emotional pain. George’s line, **"It’s hard to believe I loved you both!"** carries a heavy double meaning, hinting at the deep friendship (and possible repressed bisexuality from the original play) that is being destroyed by their inability to choose one person over the other.
### 4. The "Animal, Vegetable, or Mineral" Party
The tension in this scene is social and comedic, representing the clash between the trio's wild nature and the "boring" reality of conventional life.
* **What Preceded It:** Overwhelmed by the drama, Gilda flees both men and marries the stuffy, traditional Max Plunkett (Edward Everett Horton). She is living a miserable, "respectable" life in New York, hosting a dinner party for Max’s dull advertising clients.
* **Specific Moment:** While the guests are playing a tedious game of "Animal, Vegetable, or Mineral," Tom and George crash the party in formal wear. They hide in Gilda's bedroom, eventually being discovered by Max and the guests.
* **The Tension:** The tension arises from the imminent destruction of Gilda’s "mask" of respectability. As the men laugh hysterically on the bed, Max’s world crumbles. Gilda’s eventual outburst—**"I'm sick of being a trademark married to a slogan!"**—is the final snap of tension that leads her to leave Max and return to the men, choosing their "disgusting three-sided erotic hotch-potch" over a conventional marriage.