Over 21

publicity with Alexander Knox

Release date 08.08.1945

"Over twenty-one, you don't absorb anymore... you simply don't absorb a thing."

Deciding that he needs to know about the war first hand to be able to write about it and to know what will be the the challenges of the post-war world, Max Wharton (Alexander Knox) editor of the liberal newspaper New York Bulletin, resigns from his post and enlists in the army. His wife Polly (Irene), herself a successful novelist and screen-writer, joins him at Tetley Fields officer's school in Florida.

 arriving at Tetley Fields...

Max has to live in the army barracks but rented a dilapidated bungalow for Polly where she gets her own share of simple living conditions and rationing. The former tenant told her that allegedly after the age of twenty-one folks have difficulties to learn anything new, and indeed Max, already in his late thirties, has a hard time to remember the different army manuals and to get through officer's school. 

helping Max with his army manuals...

As if this wouldn't be enough, Robert Gow (Charles Coburn), the Bulletin's publisher threatens to sell the newspaper if Max doesn't return; obviously the newspaper is failing without its editor. Polly tries to keep all this trouble away from Max to give him the chance to concentrate on his officer's exam.

 She even writes a series of editorials under Max's name taking up his ideas of a post-war world of international cooperation - of course without the knowledge of Max and Robert. 

Polly at work...

and one of the results...

However, graduation day comes and Max discovers that his wife was not only "... like all those other gals with their fellas"...

publicity with Charles Coburn and Alexander Knox

"Over 21" is my favorite of Irene's "war films." Based on a successful Broadway play by Ruth Gordon, it comes in as a sophisticated and witty piece but touches a couple of serious topics underneath. 

 It's about war at the home front and about a couple dealing with this challenge in their very own way. The Whartons are surely not "average" people - both are professionally very successful, their background is not "small town" but very metropolitan. When Max tells Polly that he enlisted he reaches her in Hollywood where she's working on the adaptation of her latest novel. 

 the Whartons in front of their humble abode...

Obviously Mrs. Wharton isn't used to homework of any kind (her fruitless attempt to explain how to bake an apple pie is one of the movie's highlights) but she mixes easily with the other tenants. 

Polly and the other gals...

Like she knows how to write, the other wives know how to handle a pot and a baking pan and each skill has its place in this world. World War II has a democratic effect: people who probably never would have crossed each other's path in times of peace, meet and help each other, even if Polly is clearly not one of "all those other gals with their fellas" - just look at her nifty wardrobe! 

Well, that's the jumpsuit for an informal cocktail hour...

The serious issues are mainly dealing with the post-war world ("Over 21" was released in August 1945) with the focus on the idea of international cooperation illustrated by the editorial "The World and Apple Pie" which is still  very much up-to-date.

 Irene felt that she "aped" Ruth Gordon's mannerisms after catching her performance of "Over 21" on tour in Los Angeles. If so, that's irrelevant watching Dunne's performance nowadays. What I see is a perfect starring vehicle for Irene Dunne: a witty script asking for a sophisticated actress who combines comedy timing with seriousness. That "Polly" allows Irene to be really sexy (for the last time) on screen is another thing I love about this film and la Dunne's performance. 

looker Dunne!

Alexander Knox is not exactly her league but he does well and together they manage a pleasant, very simpatico couple (their relationship shown here is almost at the brink of being overly idealistic), but it's clearly an Irene Dunne film. 

Obviously the Whartons are really  fond of each other...

Overall it's a solid production with an once again great supporting cast headed by Charles Coburn; Charles Vidor's direction never denies this film's stagy origin and its air of a chamber play. 

 This serious but lighthearted picture is one of my favorites of this late period of Irene's career. Certainly not in the top ten list but nonetheless a fav. 

Exit.

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