Penny Serenade

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 ... 

at last the adoption becomes final...

happy times with Trina...

 and wordless after the blow of fate...

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

My Favorite Wife

Our magnificent leads in a publicity clinch   

Release date 05.17.1940

"Oh, by the way... how was my funeral?"

"Lovely! Dr. Blake preached a wonderful sermon."

"Oh, I wish I've been there!"

After seven years, Nick Arden (Cary Grant) has his wife Ellen (Irene) who allegedly drowned at sea declared legally dead because he wants to marry Bianca (Gail Patrick). Shipwrecked and by an off course boat rescued Ellen returns just in time to thwart the honeymoon. She follows the newlyweds in their hotel and as soon as Nick lays his eyes on her again he is sure that she is still the one and only. 

Who on earth is Bianca??

But how to break the news to Bianca who is preparing for the wedding night upstairs? "Sorry, marriage is off!" probably won't do ... poor Nick wanting to do the right thing for everybody just doesn't come around to utter the adequate words. Ellen decides to give him some more time and to billet on her own family as an "old friend from the South." 

"Hey Nicolas, honey!"

This not only gives her the opportunity to keep an eye on Nick and Bianca but to get acquainted with her two kids who are too young to remember her. When the right time comes, she'll tell Tim (Scotty Beckett) and Cinch (Mary Lou Harrington) that she is their mother. 

Probably even this confusing situation would be settled soon, if Nick wouldn't learn that Ellen was not alone on her island. She was kept company by handsome Stephen Burkett (Randolph Scott) - quite an "Adam" to Ellen's "Eve". The second round in the battle of sexes begins ... 

Adam, Eve and Nick

"My Favorite Wife" always does the trick for me - it makes me laugh and puts me in a light-hearted mood, which is certainly something very nice and pleasant to write about a film . The story is not exactly believable - not even Irene Dunne would look like Irene Dunne anymore after seven years on a desolate island, especially considering Irene's delicate skin - and Nick's and Bianca's relationship is kind of odd from the beginning. That guy doesn't have to think for a second to give her the boots, but, well , if somebody can make this plausible, it's Irene Dunne! However, this rather silly story provides the most wonderful vehicle for all kind of absurd, madcap situations, is nicely spiced with slapstick elements and handled by a cast in a genial mood. 

The radiant Irene

According to La Dunne, the idea behind "My Favorite Wife" was a sort of sequel to "The Awful Truth" which makes absolute sense and turns the last ten minutes when Irene once again ends seductively lolling in bed into an appropriate quotation. Because of an accident Leo McCarey was not in charge of the direction - this task went to the more than capable Garson Kanin - but produced "My Favorite Wife" and was in general around. Though not as sophisticated as its predecessor - the dialogue in "The Awful Truth" is simply wittier - they are both obviously products of the same spirit. 

Thus our protagonists pick up where they left off; mumbling there, come-hither glances here, repartee back and forth, long talk short - onscreen chemistry in full swing. No wonder Cary Grant described acting with Irene Dunne more like a long flirtation than work.

Well, we already know each other...

One Cary Grant mystery for me is that he stumbles from one ridiculous situation into the other without ultimately making a fool of himself; the entire time he is still absolutely attractive, adorable and no irritation arouses why Ellen wants her hubby urgently back, although he's a little bit slow and complicated about the "Bianca issue". That Nicky beats her with her own weapons and gets her eventually with a laugh leads to a nice tied game, and they end in the room in which direction they were moving all along - the bedroom.

Let's be serious about life...

Irene has a field day as Ellen Arden jumping on the sofa for a "how to tell Bianca" rehearsal - one of my favorite scenes - parading her thick Southern accent, and ogling Cary's Nick - this intelligent and sexy lady knows how to handle the male species! Quite wonderful about Irene's presentation is that she consequently seems to share her amusement with us. She had anyway a tendency to "tongue in cheek" performances - something which was not always appreciated by the critics, but an important reason why I love actress Dunne - and Irene's Ellen is the mistress of this tone. She obviously enjoys the situation - at least partly - which makes us accomplices because we share some fun while the other parties concerned still have to fight  the absurdity of life. When the script asks for some sentiment - for instance the scene in which Ellen tells her kids about her true identity - Irene quickly switches back to the general mood which defines her characterization. Her Ellen embraces the absurdity of her situation and laughs about it, which is almost irresistible. Anyhow, who does not want to share complicity with Miss Dunne? 

...but not heavy about it!

Beyond enjoying the cooperation with Cary Grant and Leo McCarey, Irene had another valuable reason to like this film - and as we know by now, she was a little bit particular about her pictures - but this one made her list because she liked the performances of the bit players. Especially the hotel clerk (Donald MacBride), the judge (Granville Bates) and the little shoe salesman (Chester Clute) create real showpieces. Their roles are almost more grateful than the parts of Gail Patrick and Randolph Scott, and if I regret anything about this film, it's the fact that two scenes were cut that probably would have been a chance for these two actors to show some more of their competent presence.

 Okay, Irene, you got me! Once again!!

"My Favorite Wife" this most delightful "prelude to a kiss" is one of my Dunne favorites and I bet this statement just took you entirely by surprise! 

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... 

Invitation To Happiness

The lady and the bloke (Fred MacMurray)

Release date 06.07.1939

"If you are not afraid of failure, there is no failure." (Eleanor)

Since his retirement, wealthy Mr. Wayne (William Collier Sr.) has a weakness for odd investments and this time he is interested in buying an interest in heavyweight fighter Albert "King" Cole (Fred MacMurray) offered to him by his former oil partner Hank "Pop" Hardy (Charlie Ruggles). To safeguard her father's investment, his daughter Eleanor (Irene) accompanies him to a fight to have a look at Cole. Though Cole wins and is obviously a promising boxer, Eleanor isn't really convinced and the after fight businees talk ends with a quarrel between her and Cole and a quick exit of the latter. Feeling insulted, Eleanor follows him and soon they are involved in a conversation - after Eleanor slapped Cole - which reveals Cole's more sensitive sides. Well, Elenor falls head over heels for the guy, and after her father bought half of his contract, on a visit to the training camp it becomes obvious that Cole is similarly attracted to her. In opposite to his "usual Blonde" (Marion Martin), Eleanor is a woman he can talk to about his ambition and the driving force of his life - the championship. This is his aim and goal and he can't imagine failure. Cole is very much aware of the class differences between them but nonetheless they elope and get married.

The Blonde, the King and his Queen

Soon reality catches up with our happily honeymooning couple: Cole is a fighter, which means training camps and a life on the road without the mollycoddling influence of a wife. Months of apartness follow, and Cole isn't even around when his son is born.

Those months turn into years, and though Cole had all the money he needed to support his family a couple of years ago, he  is still after the championship. For his ten year old boy, Albert Jr. (Billy Cook), his seldom present father is almost a stranger. At last, Cole's aspiration seems to be in reach - the fight for the championship. Once again he visits his family, mainly to tell them that he has to leave soon for the next camp. Instead of a reunion, the tension between Cole and Albert and Eleanor's vain tries to mediate leads to a controversy between the couple. In this situation, Cole turns to his former Blonde, and despite still loving her husband Elanor files for divorce. Cole gets temporary custody for Albert, and is determined to prove to his son that he loves him, even if this means that he has to jeopardize his chances for the championship...  

Mr. Wayne (William Collier Sr.) and Pop (Charlie Ruggles) telling 

Eleanor some truths about the life as a fighter's wife...

This is an oddly obscure film which is almost never mentioned. But whereas it's not one of the absolute hightlights of Irene's career, "Invitation To Happiness" has a special place on my own Dunne agenda. It was one of the first films of Irene I watched, and I  remember very well how impressed I was. 

What gets me especially about Irene Dunne over and over again are those details; a love scene - Eleanor and Cole engrossed in conversation, they are alone outside, Cole tells her that they'd better go inside. Eleanor simply asks "Why?" She knows, he knows, we know that love is in the air, and well, there are still those class differences... Irene stands there with slightly waggling shoulders, her hands in her pockets - a body language which is at the same time challenging and cautious. And then she says "Why?" and it's unbelievable what she manages to express with only one word. Her voice is breathless with excitement, tension, and, oh boy, how she wants to be kissed!

during filming with Billy Cook and director Wesley Ruggles

Of course Irene Dunne films are full of this kind of tidbits - and I could easily pick some other scenes from "Invitation To Happiness" - but one example of my Dunne newbie memories is certainly enough.

As you know by now, while I've never lost the enthusiasm for those details they are not sufficient to secure a film a place on the list of my Dunne favorites - this needs some other elements. One strong argument is the presence of Fred MacMurray. I plain and simple like that guy - once again an actor who worked with all my favorite actresses - and he is perfect in the role of this sensitive big hunk of a man. The supporting cast is outstanding, even for old Hollywood standards, and all of them get some rewarding scenes. Child actor Billy Cook who asserts his position in this high quality cast, deserves an extra mentioning. 

The diretor's seat was occupied by Wesley Ruggles with whom Irene worked on "Cimarron" and he proved once again that he had a knack for action scenes; the boxing sequence is especially well done. As the icing of the cake Irene is dressed in fancy 20s costumes - the story begins in 1927 - designed by Edith Head.

Irene in an Edith Head creation

Till now this sounds like quite a film, doesn't it? Okay, a "lady and the uneducated fella" story is not exactly groundbreaking, but always likeable to watch, and the bottom line "If you are not afraid of failure, there is no failure" is intelligent enough to please me. The idea that sometimes defeat in one department of life might bring success in another section is certainly one I like. 

"Invitation To Happiness" has the fate that it's overshadowed by the superior films Irene made around that time. Irene and Fred MacMurray make a pleasant couple but it's not the Dunne/Grant, Dunne/Boyer magic; neither is this movie as witty as "The Awful Truth" nor as sophisticated as "Love Affair," it's simply not in this league of films, but nevertheless it's a solid piece of entertainment.

That's another Dunne picture I'd love to watch in a decent print one day, but my rather blurry copy does not hinder me from accepting this "Invitation" from time to time - it's always an enjoyable, relaxing evening.

Meet the Coles!

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!