Together Again

publicity with Charles Boyer

Release date 12.22.1944

"Oh, I knew if you came here something would happen. But, frankly, I didn't think it would end up with me being your mother-in-law."
(Anne to George)

After the death of her husband Jonathan, Anne Crandall (Irene) took over his  position as major, more because of the family tradition than because of her own desire. Five years later her life revolves aound  her work and her neurotic step-daughter Diana (Mona Freeman), much to the concern of her father-in-law (Charles Coburn) who thinks that's about time for her to find a new partner and start a life of her own.

Major Crandall at work...

Hence, when a bolt of lightning beheads the statue of his late son, he takes this as a sign that Jonathan agrees with him. Nicely enough the search for a sculptor to create a new statue makes a trip to New York necessary. Maybe Anne will meet a fitting man there? 

-And buy a new hat.

- A new hat? What's the matter with the one I have on?

-It looks like a hat, that's what's the matter with it.

When women start wearing hats that look like hats, 

they are on their way out. At your age you 

ought to be on the way in.

- In what?

 - Buy a new hat and find out.

The definitely not like a hat looking new hat that 

later on has a lot to answer for....

Well, Anne meets artist George Corday (Charles Boyer) and though they have a lot of trouble getting started - including Anne ending up in jail after a night club raid - it's obvious that George is attracted to her. Despite the fact that she decided against him for the commission, he follows her to Brookhaven and manages to start working on the statue - as house guest of the Crandalls, of course.

The presence of this male leads to a lot of entanglements - including cross-over bethrothals - and it needs a lot more thunder and lightning to bring us to the Happy End...

George and his two fiancees... music's in the air! 

The title of this film has nothing, absolutely nothing to do with the plot but sums up what this is all about - Irene Dunne and Charles Boyer "Together Again." That steady correlation between on-and off-screen is one way how the classic Hollywood studio system worked, and after their colloboration in the acclaimed "Love Affair"and "When Tomorrow Comes" (both from 1939), the fans of both stars certainly waited for another co-work. It's a pity that they only got this ridiculous story to work with, but the chemistry of our protagonists makes up for the weaknesses of the script.

 Miss Dunne and Mr. Boyer having a good time...

Actually they carry the whole enterprise; in Irene's case elegantly dressed for this task in Jean Louis' creations. Recommended by Miss Dunne, "Together Again" marks the beginning of Jean Louis' career in Columbia's wardrobe department. 

How's that for a quiet evening at home outfit? 

Wouldn't you know that I find this film rather foolish with all its thunder and lightning? But nonetheless it's fairly charming and entertaining. After the heavy dramatics of "The White Cliffs Of Dover" it's nice for a change to see Irene in a comedy again. Beyond the reunion with Charls Boyer and the concomitant on-screen chemistry, the whole film is built around her. She proves once again her star quality by ennobling this mediocre script to a satisfying piece of entertainment. Her lively face, her multi-variant voice, and even the Dunne typical mannerisms  - the waggling shoulders, touching her teeth with her fingers, for instance - are used effectively. 

That's a typical Dunne gesture...

Technically there is nothing wrong about "Together Again." Charles Vidor's directing and the whole supporting cast are fine; especially Charles Coburn as Anne's father-in-law deserves an extra mentioning. 

This little hat has really a lot to answer for...

If there's something to really  complain about it's the fact that obviously some scenes of Irene and Charles Boyer ended on the cutting floor. An elaboration of the Happy End would have been pleasant too. 

both scenes are not in the film...

In a nutshell: this movie is not a classic comedy prime example but it presents Irene Dunne and Charles Boyer "Together Again" - and sometimes that's simply enough! 

The End

When Tomorrow Comes

Irene gone with the wind - we're still in 1939 - in

 "When Tomorrow Comes"           

Release date 08.11.1939

"I'm not bitter... I just feel sort of numb in here."

Another workday at one of the common restaurants in New York; waitress Helen (Irene) and her co-workers are busy with lunch hour. The girls are a little bit nervous because of an Union meeting in the evening and a possible upcoming strike. Helen - herself left-wing oriented - tries to calm them down. One of the diners that day is Frenchman Philip (Charles Boyer) who immediately attracted to Helen follows her to the Union meeting.

For once, Irene takes Charles' order...

Helen speaks at the gathering, and manages to convince the other waitresses to strike. Philip introducing himself simply as a pianist - Helen assumes that he plays somewhere in a bar and has a similar background  like herself - walks Helen home, and persuades her to jaunt with him the next day.

The trip starts nicely and comfortably on a boat with a picnic lunch from the Ritz but soon a storm comes up  and the couple is forced to take refuge in Philip's Long Island house. Helen quickly discovers that Philip is not only the wealthy owner of this mansion but the famous pianist Philip Andre Chagal - and, well, he is married. Despite the hurricane outside and the seductive fireplace atmosphere inside, Helen begs Philip to drive her back to town , after he kissed her.

The storm is not what I am afraid of...

And then a tree falls atop of the car, and they have to look for shelter in a church, and then they think they'll drown, but they don't and are rescued the next morning and then Philip tells Helen that he is desperately in love with her. And then on their way back to New York they meet Philip's wife Madeline (Barbara O'Neil), who turns out to be mentally disturbed. And then Helen sends Philip away, and then Philip returns and tells her that he can't give her up. And then Philip's wife turns up at Helen's threshold and pleads her case - "I am mentally ill, but not all the time, and I am helpless, and won't you give up Philip?" And then Helen dines the last - no it's the first time - with Philip and decides to send him alone to Paris, and then Philip leaves...

The first/last dinner...

Okay, I admit my recount of this storyline is a little bit flippant, but when I first watched this film I felt dissapointed and this feeling still lingers on. What a waste of talent and opportunities! "When Tomorrow Comes" was based on an unpublished story by James M. Cain, and after I read the not until 1951 published novel, I assume that Cain was the reason why this movie starts so promising. Irene as a waitress with communist leanings, delivering a rousing speech at an Union meeting is an interesting change of path for her; and Charles Boyer as leading man and John M. Stahl as director - how exciting! My expectations were fulfilled in the first 40 minutes and then a storm comes up and in a jiffy I end up with a drab love story at my hands. Why didn't they stick to "The Modern Cinderella" - so the working title - story? 

"Modern Cinderella" beaming

The exit of the Cinderella still could have worked if the love story which uses all kind of dramatic situations as aids - storm, water, toppling trees, and even a mental case - wouldn't hesitate every time drama really tries to take its toll. For instance, this scenery in the church - our protagonists just narrowly escaped death, water is streaming into their shelter, and they start talking about the end of the world... their love is anyway ill-starred, maybe they are facing death, one way or the other those are their last hours together, and all they can think about is taking a nap?? Of course, Irene making herself comfortable on/at Charles is nice  to watch, but after I schlepped through this scenery of elementary forces I am in the mood for some drama or let's just say some heart-to-heart talk. I'm defenitely not in for a snooze, especially not with Irene and Charles around! 

I have to admit, this looks cosy...

The story as a whole is so patchy, as if different writers wrote each one scene only vaguely telling each other what happened beforehand. When the nutty wife turned up, I knew I would not even get a happy end.  Old Hollywood husbands plain and simple don't leave their psychologically unstable wives. This is sort of reassuring - at least for the deranged  females - but Philip's Missis seems to be of the dangerous kind. In the scene with Helen Madeline comes across as manipulative and creepy. What is she going to do next? Burn the house down?? Barbara O'Neil played her so spookily, that she managed to distract me from Irene - and this is really something!

Irene with scene stealer - according to Irene adding some needed pep - Barbara O'Neil

Naturally, my lament is complaining on a high level. Everything but this uneven story is beautiful. Irene and Charles Boyer create together a glowing onscreen presence as if they'd increase each other, and director John M. Stahl obviously knew what he was doing. Especially the beginning - I admire how we "walk" into the story - and the last minutes - a wonderful example of Dunne/Boyer underacting - are outstanding. 

I am well aware that the sources of my irritation are probably censorship and Irene's onscreen persona - who would be interested to elaborate on a tough cookie/Union girl image for her? - but this time my knowledge does not help. "When Tomorrow Comes" simply doesn't ring true for me; an accumulation of pleasant to watch screen moments sums up to a movie I don't really like. At least, I am in good company; Irene didn't like this picture, too, kind of "Dunne like" not exactly telling why but her vagueness echoes my uncomfortable feelings about this film. Miss Dunne gets the last word (interview with James Harvey, 1978):

I can't help it. 

JH: But you didn't enjoy making When Tomorrow Comes, the Stahl film with Boyer?

ID: No, I didn't. It's quite a nice way I have, isn't it, of blocking things out I don't like to remember?... I only remember one scene in that film... we were caught in a storm -- in a church choir?

JH: Yes, it's a strange scene.

ID: And he was a pianist -- or I was?

JH: He was. (I laugh)

ID: Yes, I remember him sitting at the piano... and was I a waitress?

JH: Yes, you were a waitress.

ID: I remember those early scenes, yes.

JH: You were very good in them, too. (She looks at me dryly, I laugh)

ID: (softly) I can't imagine that I was good in that.

JH: Really? Why not?

ID: Well... I don't know. I didn't like it. 

JH: And even working with Boyer didn't help?

ID: Not in that.

JH: Did he dislike it, too?

ID: I don't think he liked it very much... 

Love Affair

Charles Boyer and Irene 

Release date 03.16.1939

"Anything can happen, don't you think?" (Terry)

Sailing from Europe to New York, Michel Mornat (Charles Boyer) - a notorious playboy, who is on his way to marry heiress Lois Clarke (Astrid Alwyn) - meets Terry McKay (Irene) - a young woman kept by her boss and "fiancé" Ken Bradley (Lee Bowman). Though both are (almost) going steady, they start flirting and Michel clearly has a shipboard romance in mind.

First encounter...

Obviously, Terry is attracted to him and wouldn't be adverse to a little fling, but she fears that they would make the newspapers and stops the entaglement before it really started. However, on a shore excursion - the boat docks at Madeira - they run into each other, and Michel invites Terry to join him for a visit to his grandmother. Janou (Maria Ouspenskaja) lives on a hill in a house with a calm, unwordly atmosphere that immediatley captivates Terry. 

with Janou (Maria Ouspenskaja)

From his grandmother she learns about some other sides of Michel; not only is he a talented painter, but there is nothing wrong about him the right woman couldn't fix. These hours together work like a catalyzer for their feelings and back aboard Michel and Terry know that something serious is happening between them.  

 Work and love or a life of "pink champagne"?

Although they are sure about their feelings for each other, they are not sure if they could manage a long-term relationship; both are used to a life of "pink champagne" - and that someone else pays for the champagne. Michel has never worked before and Terry only a short time as singer at a nightclub before she was picked up by Ken. They agree not to see each other for six months, and have a try at finding a job and changing their lifestyle. If this will work out they'll meet again atop of the Empire State Building and then the future will be theirs. 

Terry and Ken (Lee Bowman) - Michel is not amused

Both take the first step and leave their respective partners. When his art doesn't sell, Michel takes a job as painter of signs while Terry starts singing again. At last, the six months are over and the Empire State Building is already in sight, but then fate strikes. Terry - in a hurry to meet Michel - is run over by a car, and this accident brings her into the wheelchair. Not knowing if she'll ever walk again, she doesn't want to be a burden for Michel and does not contact him. 

Terry and the kids singing "Whishing" 

Whereas the fact that Terry didn't show up is the dissapointment of his life, Michel just can't turn back to his playboy ways and instead concentrates on his painting. Likewise, Terry refuses any help from Ken and makes a living as music teacher at an orphanage still hoping that she'll escape the wheelchair in the nearer future and then she'll "run to Michel." Coincidentally they meet at a theater performance. Michel not aware of her state of health, and irritated because Terry is accompanied by Ken , visits Terry the next day. He simply has to know why she didn't climb the Empire State Building before he'll leave "to sail the seven seas" trying to forget her... 

The last visit...

"Love Affair" is not only a very beautiful film but an interesting mixture of different genres. Romantic comedy - mainly taking place on the cruiser - and melodrama walk hand in hand glued together by well-nigh religious elements. An igniting moment for Terry's and Michel's relationship is when they pray together in a little chapel on Janou's estate. The scenery is immersed in light coming from a window above and concentrating on Irene thus arousing the effect that we - and Michel - seem to see her anew. When they leave the chapel there is a moment of slight embarrassement between our main characters; something has changed and they know it. Both our protogonists are not quite flawless - the first detail we learn about Michel is that he just betrayed his fiancee with her best friend - and Terry's relationship with Ken - though he is the only page in her "little black book" - is not exactly one out of an etiquette guide for ladies. But we are told to love the sinner and not the sin, and who does not want to believe that love might have a cathartic effect and bring out the best in us? Of course this "catharsis" has to stand a test, and our couple has to prove that they are changed as individuals to be allowed to become a couple again.

one of my favorite publicities...

As serious as this sounds as light is the tone in which the story is told - certainly an outstanding, appealing feature of "Love Affair." Charles Boyer and Irene are simply wonderful in the leads, and their first co-work resulted in a film they both called one of their favorites. Again we are lucky enough to witness the mysterious moment of onscreen chemistry; in the case of Irene and Charles a chemistry more based on tenderness and warmth than  on repartee and timing which connected Irene so wonderfully with Cary Grant. Charles Boyer was Irene Dunne's other favorite leading men - Miss Dunne knew whom to pick. Irene had the fondest memories of the atmosphere on the set of "Love Affair" and gave a by an Academy Award nomination awarded performance.

on set with Leo McCarey and Charles Boyer 

She is not only supported by her leading man, but by the fine direction of Leo McCarey - another one of Irene's favorite co-workers. On one hand low-key on the other hand most impressive, McCarey finds a touching visual language for this "affair" - the first encounter, the aforementioned scene in the chapel, their first kiss or the whole last ten minutes of this film... anyway, those last ten minutes! If I would need a reminder why I started this project - I do not, just in case - I could simply watch these ten minutes. That's  top class Dunne  - an emotional rollercoaster of a scene handled solely by the use of her speaking voice and her facial expressions; and in passing she proves why her Terry was and is the woman Michel fell in love with. That someone like Charles Boyer is Irene's counterpart in this scene is an exhilarating onscreen moment. 

There we sing again...

All of this would be certainly enough to make "Love Affair" one of my favorite Irene Dunne films, but I get a super extra - a song! "Sing My Heart" was especially written by Harold Arlen  for this movie and fits Irene's voice perfectly. A fav song in a fav film - that's certainly worth a recommendation! 

A Pause Before We Are Heading For Comedy

the radiant Miss Dunne in her mid-forties

Although we are only in 1936 and there are still 16 years to come of Irene Dunne in the movies, we are halfway through with our journey. In her first 6 years in Hollywood, five of them under her initial contract with RKO, Irene made about the half of her total of 41 films. This sheer amount deserves a look back before we are going to leave for the second half.

Today Irene Dunne is mainly remembered because of her comedies and as co-star of Cary Grant, which is justified and unjust at the same time. The expression “versatility” is never far away as soon as the name Irene Dunne is mentioned and the fundament of this is her early work. We have melodramas, musicals, conversation pieces in quick succession, and even a western and such an oddity as “Stingaree” found their place. Irene did sing Jerome Kern, opera, music hall ditties; played shop-girls, opera singers, a countess, a fashion designer, a steel mill worker's wife, a secretary and well-off Mrs. Jim Dunlap, just to name a few. In a year like 1934 movie-goers had the occasion to watch Miss Dunne in such diverse motion pictures as “This Man Is Mine”, “Stingaree”, “The Age Of Innocence” and “Sweet Adeline”, thus “Irene Dunne could do it all” was basically established in those early years. And another fundament was laid during that period, Irene's screen persona: ladylike, decent, a vital truthfulness. Those elements - versatility and a defined screen persona - were the ground to build on the next years of Irene's career.

Miss Sophistication in 1941

This ground was effectively, successfully and gratifyingly tilled in Irene's time as a freelance actress. Of course those years gave us the highlights and - not always but most of the times - the superior films. One reason for this is the simple fact that Irene worked with co-stars of the same league as herself; such names as Cary Grant, Charles Boyer - Irene's deservedly so favorite onscreen partners - or William Powell and Spencer Tracy only crossed Irene's path starting with 1937. This second career half bestowed us with wonderful scripts, an impressing list of accomplished directors and last not least a throughout beautifully presented and photographed Irene. Her image in those years is seamless, and the fact that Irene had her hand in picking scripts, the freedom to reject projects and director's approval certainly was part of this. Additionally Irene conquered the genre of comedy, which was the perfect playground to bring her delightful screen persona into full bloom. Especially the comedies took advantage of Irene's on screen and kindly correlating off screen image and deliberately spoofed it with Miss Dunne voluntarily going along.

In her forties, at an age when many actresses have to face a lull in their careers, Irene Dunne was flying high; her success at the box office reflected by her top spot on the list of Hollywood earners.

Those are all good reasons to concentrate on this later phase of Irene's acting career but this would be too narrowly considered. One shouldn't forget that Miss Dunne was already a star before she embarked on comedy; and though most of those early films don't offer the sophistication, wit, finesse of their follow-ups they offer indeed a lot of quintessential Dunne acting and singing.