La Dunne as Julie Gardiner Adams
Release date 04.24.1941
"... for better, for worse, for richer, for poorer, in sickness and health, to love and to cherish, till death do us part."
At the brink of leaving her husband, newspaper man Roger Adams (Cary Grant), Julie (Irene) starts listening to records they collected through the years. Each song reminds her of a stage of their life together...
first encounter...
courtship...
marriage...
telling Roger the good news...
an earthquake and...
miscarriage and childlessness...
talking about adoption...
the first time meeting Trina ...
After these reminiscences we are back in the somber here and now with Julie waiting for old friend Applejack (Edgar Buchanan) to take her to the train. But when Roger comes home, it's obvious that they are not yet finished with each other, and maybe they'll get another chance...
The story of "Penny Serenade" radiates amiable normality. This is how life goes: happy and funny, sad and tragic, with lighthearted times and periods in which we get a lot more than we bargained for. Simply for a change it's nice that we are not with the rich folks, but with common people struggling financially. As much as I like the main part of this plot, I simply love how exemplary well filmed it is. What a gifted team and what a wonderful result!
A bunch of laurels - or more appropriate a bay wreath - goes to director George Stevens and cinematographer Joseph Walker. According to Irene, Stevens was a perfectionist who prepared meticulously each scene with his crew but did not need many takes. This precision and attention to details become apparent in the most interesting perspectives.
One example is the scene in the train. At first we don't follow the newlyweds into the compartment. The door is half-closed, and we are in the situation of an almost voyeuristic onlooker which gives this scene intimacy and eroticism.
They are in, and we are out where we belong...
I slightly regret that we are allowed to enter the room now, but the whole mise-on-scène is a convincing proof why Old Hollywood didn't need nakedness to picture sexuality - of course allowed, marriage blessed post-code sexuality. For all of us who didn't get that they did not solely hold hands on the train, we learn in one of the next scenes that Julie is pregnant. Though our couple did not manage a honeymoon trip because of Roger's professional obligations they indeed succeeded in a partial wedding night - 100 miles long that is.
the end of the "wedding record"
Another of my favorite scenes is of course the first night as parents - have a look at how the doors between the two rooms are used as props here - and I'd like to add the scenery when they prepare for the legal adoption assuming that they'll lose Trina. Stevens keeps us consequently at a distance utilizing an angle from the stairs which only shows moving legs. All are very busy packing Trina's things; we don't see their faces, but only moments later we are confronted with Irene's face in close-ups. She runs to the window, and while we can't see what's happening outside, her face tells the sad story of her daughter's departure.
Did I ever tell you that I am very appreciative of Irene Dunne?
This mixture of distance and nearness is utterly effective. Moreover, cameraman Walker spoils us with a lot of beautifully photographed close-ups - which made selecting the screenshots for my Irene Dunne site a real difficult task.
Did I ever tell you that I have a weakness for close-ups of Irene Dunne?
I already gushed a lot about Cary and Irene - or Irene and Cary - and I certainly could go on about their performances in "Penny Serenade."
Grant's gained him his first Academy Award nomination, and the scene with the judge surely provides some of the most remarkable Cary Grant onscreen minutes. The guy really touched me, made me laugh, and convinced me completely in the whole rest of the story. Is there anything else I could expect from an actor?
The magnificent Mr. Grant really deserves a pic of his own. The close-ups were mainly reserved for Miss Dunne though. She had first billing, you know...
The idea of music as the golden threat for this story is not only a structure after my own heart, but gives Irene the opportunity to foreshadow each episode. These are the perfect moments for this fine-tuned actress with her expressive face. She and Cary Grant - both more on the restraint side of acting - avoid any maudlin. This story could have been a rich source of schmaltz but what "Penny Serenade" offers is beautiful sentiment.
Edgar Buchanan has some great scenes as Applejack - the nicest of scene-stealer's -and Beulah Bondi as head of the adoption agency throws in another solid performance. Maybe they could have found a better child actress for "Trina, age six" (Eva Lee Kuney), someone with a more convincing smile would have been nice. This fake of a grin looks scary, little Eva!
Mr. Buchanan at work...(and this is a typical ID gesture)
Up to this point I am really happy with this film, but here comes a personal difficulty. Normally, I don't watch the last minutes of "Penny Serenade" because I can't stand this phony Happy End. To "replace" one kid by another, and the assumption that this would "solve" all problems simply gives me the creeps. We just followed Julie and Roger for about two hours, learned that they were "meant for each other" (to stick to the songs), and when they start doing what they should have done a couple of days earlier - talk and share their loss and pain - the darn telephone rings and Miss Oliver (Beulah Bondi) offers a blond boy. Oh dear!
I would have preferred a semi-open end; they start talking, descend the stairs, leaving us without any easy way out but with the awareness that they are once again on their way - together.
Well, as long as all I need to get my personal version is the stop button, that can't be a real problem, right?
The End à la Susanne
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