The Age Of Innocence

Irene as Ellen Olenska

Release date 09.14.1934

“I'm not like these dear, kind people who want to help me. I want my freedom, Newland. I can't pretend…"
“Pretend?”
“Yes, that I'm like the other women over here. They never seem to feel any…need.
 …I'm one of those women who must have love…who must be loved.”
(Ellen - in the best scene of the whole film)

In a flashback Newland Archer (John Boles) tells his grandson about his love for Ellen Olenska (Irene) for whom he considered changing everything a long, long time ago…

Newland is engaged to May Welland (Julie Haydon) like him a member of New York's fin de siècle high society. This tradition centered community is entered by May's cousin Ellen who after living for a long time in Europe fled from her husband, and returned to her family seeks for a divorce now.

Ellen surrounded by her family

In the position of her legal adviser Newland gets the chance to talk her out of this, reminding her of the upcoming scandal and what this would mean for the rest of the family -there are more things to think about than Ellen's freedom and happiness. Nonetheless, Newland is touched by Ellen's honest directness and being different from all the other women in his surroundings, and slowly falls for her. Mixed up by these feelings he urges May to change her and her parents' plans and to marry as quickly as possible, which May interprets as a sign that he isn't sure about his love for her and offers to set him free. Something Newland declines thus dissipating May's hunch that he is interested in another woman.

For once alone...

For once alone, Ellen and Newland admit each other their love but only to be disturbed by a family uproar announcing the news that May persuaded her parents to hasten up the marriage.

Newland and May get married and embark for a long honeymoon in Europe. As soon as they are back they visit Granny Mingott (Helen Westley) who is kept company by Ellen. From the very first moment when they meet again it's obvious that nothing has changed between the two lovers. At one of their secret meetings at the Metropolitan Museum they decide to go to Washington together, but they make their plans without May and the relatives who started to get suspicious…

at the Metropolitan Museum...

Maybe if I wouldn't love Edith Wharton's novel of the same title on which this film is based, and wouldn't have watched the Scorsese filming of the “Age Of Innocence” a long time ago, I'd like this film better. But as things are, it's simply a bad filmization of that novel. The script deprives the story of all its delicately spun irony, its elegance and even its tragic moments, because the New York society Wharton portrays is one of unspoken dialogues, of undiscussed values and rules and certainly not as outspoken and direct as this film implies. This brings the story at the brink of not working at all because it's hardly understandable why these lovers can't be together. In the book this is all a lot more complicated and embroiled, which makes it understandable and not only an outlived, old-fashioned behavior. The utilization of a frame story in which the grandson in a similar situation decides just the opposite isn't helpful either. Bereft from all its subtlety the “Age Of Innocence” is simply an unhappy, weepy love story.

the last glimpse at Miss Dunne in this film...

Maybe even this could work - I can't say that I don't like a weepie now and then - if we would have a more competent leading man at hand. I complained about the handsome Mr. Boles in “Back Street”, but this time he really gets on my nerves in his one-dimensionality . Every time the miserable lovers meet, Mr. Boles looks at Irene like a wounded puppy, which obviously was meant to be tragic; added to this are corny violins in the background, which certainly is not Mr. Boles' fault, but that's just what I don't need having to face Mr. Boles in one of his emotional moments. Quite helpful once again are the supporting players who are around, especially Helen Westley as Granny Mingott - a real scene stealer - and Laura Hope Crews as May Welland's mother. Watching Irene's films the last couple of months I developed quite a liking for these two ladies.

Irene and the great Helen Westley - sharing an onscreen chuckle

This brings me to the lady for whom I'm around - Miss Dunne. Irene mainly gets me in this film - I have to admit this - with her looks. She radiates a warm, melancholy-trimmed, touching beauty, which is a real asset of this film and at last offers some depth and second layers to the goings-on. Her entrance - we have to wait ten minutes before she enters the screen - dressed up for a ball is glamorous and worthwhile waiting for. And there is Irene's lively, expressive face which once again made selecting the screenshots a real pleasure - certainly not my favorite film but good for wonderful photos. However, of course, Irene like the rest of the cast including Mr. Boles has to handle a weak, superficial script and they are not helped by the stiff and uninspired direction of Philip Moeller.

Irene as Ellen Olenska making an entrance and leaving an impression...

Well, it seems I don't like that film very much and what could I say about it?

Read the novel? That certainly would be an idea. And if you want merely to watch a good filming of it, turn to the Scorsese film from 1993 that by the way was nominated for an Academy Award for Best Adapted Screenplay.But if you are intrigued by Irene by now - and I kind of hope for that - switch “The Age Of Innocence” on - just to look at her.

Back Street

Release date August 28.  1932

"What can a man like that do for you?...all he can do is tug you away some place in a side street and let you wait..."

In the good old days before the 18.Amendment we encounter Ray Schmidt (Irene) with one of the salesmen she meets at her father´s shop in a beer garden. Very flirtatious and pleasure-loving Ray seems to be one of

"those girls", but as so often the first impression is wrong. Though being popular with men and enjoying male company Ray is decent and waiting for "the one": "It´s all the way or zero for me. And heaven helps the man I do fall in love with!"

                publicity for "Back Street" - as young Ray Schmidt

Soon this man enters the screen in the person of Walter Saxel (John Boles) who seems to look for a last fling before he marries his childhood sweetheart Corinne. Whereas things grow serious between Ray and Walter, he doesn´t cancel his wedding but arranges for an "accidental" meeting at a band concert between Ray and his mother - hoping that this would change matters. This encounter never happens...years later Ray and Walter run into each other in New York. He is married now, with two kids and successfully working as banker, Ray has a good job in a shop. The sparks are still there and soon Ray lets herself be installed as Walter´s mistress - waiting for him in a humble apartment, thus starting her life in the backstreets of Walter´s existence...

first encounter...                                              

                                            and fate strikes again...

I´m really twisted about this film: what a painfully to watch story - and I don´t mean the delightful sort of pain which makes a weepie so enjoyable from time to time. But one and a half hour watching female, self-imposed enslavement is rather emotionally exhausting. It´s a story about a woman completely disintegrating in a relationship and a caddish man grabbing the best out of two worlds - all of which is called love. Long talk short - a rather annoying soap opera!

Walter´s shadow...

                                   

And here comes the BUT and the second part of my twisted feelings: it´s a darn well made film - thanks to Irene and director John M. Stahl. That very first scene - we only hear Irene´s laughter, we see her hands and than a smooth move upwards to her face, she laughs, takes a sip of beer...but we don´t stay long there moving on to the next table in the beer garden. Such a clever slipping into the scenery and inventing of Irene´s character! But the person who makes the whole thing work is definitely Miss Dunne - it´s a superb performance from young, frivolous Ray to the mature woman with a light layer of sadness about her. Absolutely on the spot and as believable as such a wobbly character can be. Looking at Irene I know why I´m around, watched that film several times, read the novel and consumed both remakes of "Back Street" - all on the search for some kind of enlightenment about the content - but in vain. I still can´t stand that story!

But I´m in best company: according to James R.Parish (The RKO Gals) though enjoying the work with Stahl Irene called the film´s message "trash" - good to know!

Irene at the premiere of "Back Street"

John Boles - certainly handsome to look at - gives a pale impression and is completely overshadowed by Irene´s performance. This doesn´t make it easier to understand why he is THE guy, but Walter in the novel is similar unimpressive - anyhow love is where you find it!

Nonetheless this Fannie Hurst filmization was an important film for Irene´s career. Being very successful and earning Universal a lot of money "Back Street" manifested Irene as star - and as suffering heroine (at least for the time being). And in a way - considering screen time and concentration on her character - it´s the first "real" Dunne film which makes it a must see for in Irene interested folks. Soapy, wobbly, trashy - but 100 percent Dunne!

                   there is always time for a little music...

Last not least: I got an extra again! No, Irene doesn´t sing but she does hum/whistle while dressing for that never taking place meeting. And what does she hum? "After The Ball" which was a popular song in the 1890s (that´s when the novel starts, the film begins around 1917) and that song is performed in "Show Boat". Who came to Hollywood because of "Show Boat"? Irene! And what are the lyrics of "After The Ball"?

"After the ball is over

After the break of morn

After the dancers´ leaving

After the stars are gone

Many a heart is aching

If you could read them all

Many the hopes that have vanished

After the ball"

Just perfect for that scene...these are the kind of details I love! Thanks, Irene for humming this tune - no coincidence, I´m sure!