The Silver Cord

publicity for "The Silver Cord"

Release date 05.05.1933

“Then I can't hope for much, can I? …Hester escaped, but I'm caught! I'm going to have a baby by a man who belongs to another woman!!”

On their way from Europe, where they met and married, to New York the newlywed couple Christina (Irene) and David Phelps (Joel McCrea) visit David's mother (Laura Hope Crews). Christina and David have definite plans for their marriage hoping to combine family and careers: Christina is a research biologist, David works as an architect. Interesting jobs are already waiting for them in New York but there is still some time for Christina's first visit with her mother-in-law. Also present and thus making the family reunion complete is David's younger brother Robert (Eric Linden) and his fiancée Hester (Frances Dee).

family reunion part 1

Soon it's obvious that Mrs. Phelps is an over-protective and possessive mother whose plans for David - which are mainly based on her wish to keep him nearby and under her influence - clash with Christina's ideas for her future with her husband. Maybe Mrs. Phelps has lost some influence on her eldest son, but there is still Robert whom she - afraid of getting lonely when he leaves too - manipulatively talks out of his engagement with Hester.

mother and son part 1

Not even the fact that David and Christina are expecting their first child changes Mrs. Phelps' attitude towards her daughter-in-law - all evening long Christina is the aim of verbal attacks.

After dinner, Robert breaks the news of the end of their engagement to Hester who reacts with a fit of hysteria only calmed down and comforted by Christina. David's neutral reaction to the situation, his by- standing and compliant behavior with his mother, makes Christina fear the worst for her own marriage. At last she issues an ultimatum to David…

family reunion part 2

This is a wonderful ensemble piece of a film with Laura Hope Crews, who recreates her stage role, heading the troupe. This was the main problem Irene had with this film being aware that the stellar part was the one of the mother. This is partly true, but nevertheless Irene's role offers - and she certainly utilized them - scenes of enormous intensity. Surrounded by a cast which holds his own against her - and this time all of them - this is so impressive to watch that I ended up glued to the TV screen - re-watching it at least the fourth time!

mother and son part 2

From Laura Hope Crews' performance as "loving" mother manipulatively creeping in her sons like a slow-acting poison, to Joel McCrea who turns from a man very much in love to a lame imitation of a husband with an almost blank face, from Frances Dee's natural handling of young Hester to Eric Linden's weak young brother feeling overshadowed by his older brother, this is more than well done by the whole cast.

Hester and Robert - the end of a relationship

This is the first of a total of four films Irene made with director John Cromwell. Three of them are in this early stage of Irene's career and they are all on my list of “Dunne favorites”. In general, Cromwell's rather sober directing style mixes perfectly with Irene's touching, minimalist acting. Letting loose in comedies came natural to her but she never was an actress of grand, dramatic gestures but of impressive, well-thought-out details. Cromwell directs “The Silver Cord” as that what it is - a film that at no point denies its origins from the stage.

mother and sons part 3

To see the story line only as another tale about a mother-son relationship, which is such a rewarding, artistic topic in the range from drama to comedy, would be a little bit too narrowly considered. There are creepy, almost incestuous moments but it's also a story about the difficulty to transform family ties, not to drop back to patterns we developed as kids, it's about loneliness and that clinging is probably the sure way to get lonely, about substituting one feeling by another…and in the last analysis didn't Mrs. Phelps bring up a son who is worthwhile Christina's love - something which this young woman knows very well she just can't afford to throw away on a nobody?

David, whom do you love?

The fact that Irene's character is a scientist is perfectly selected and makes Christina very interesting under different aspects. She not only stands for the “modern” career woman, earning approval in a field normally occupied by men, but as a scientist she is analytic enough to see through the whole situation and to act accordingly: there is no time for wishy-washy reactions, this is indeed a test for her marriage.

the opponents

The switch from Sally in “The Secret Of Madame Blanche” - singing, glamorous Sally - to Christina - sober, though with a warm personality, good-looking, though glamour isn't her first name - proves why the name “Irene Dunne” and the word “versatility“ are so often combined. Another thing that makes watching Irene's films in chronological order so interesting.

The only thing to add now is a some nice trivia: Joel McCrea and Frances Dee met on the set of The Silver Cord, which resulted in the rarity of a till-death-do-us-part Hollywood marriage. Obviously, no nasty mother-in-law came between them…

Detour - not really, just more Irene!

                                            ca.1934

About ten weeks ago I started this blog - and I´m only in the early thirties with a lot of films still lying ahead of me...BUT it was already time for another project - an enlargement of and addition to this one:

               
an Irene Dunne website

September the 4th 2010 will mark the 20th anniversay of Irene´s death-day and I decided that  it´s about time that something happens for her in the web - not that you can´t find information about her at all, but all spread around. What I`ll try to do now, is to offer a site, a place for this Irene Dunne material. Both projects are in progress, take up a lot of time and are a lot of fun. It´s a pleasure to do this for this great lady!

Looking forward to sharing a lot of Irene Dunne with you!

Susanne

The Secret Of Madame Blanche

publicity for "The Secret Of Madame Blanche"

Release date 02.03.1933

“You won´t let me see you again?”
“What´s the use? You are only wasting your time…”
“Tomorrow?”
“Alright, that´s to be on my terms this time!”
“I know, a ham sandwich!”

American chorus girl Sally Saunders (Irene) on tour in Europe meets English aristocrat Leonard St. John (Philips Holmes) who at first tries to practice his common routine on her, which means to install her as his mistress in a nice apartment. However, of course Sally is the most decent of girls and they end up being married. Turns up the nasty father-in-law (Lionel Atwill), who not only having educated his offspring as a good-for-nothing fellow fiercely objects to the marriage now. Though his son hasn’t done much more in his life than spending money, gambling and chasing women, his father has great plans for the lad including an adequate marriage and going into politics - the only fitting profession for that kind of education. Sweet Sally has spoiled all those plans and the result is the cut off of Leonard’s monthly cheque.

Leonard twisted between his father and Sally...

For some time Leonard succeeds in making a living with gambling but soon the couple is broke. Not able to take pressure of any kind Leonard decides to turn back to his father and leaves for London before Sally gets the chance to tell him that she is pregnant. If Leonard had the hope for a reconciliation with his father, this hope is soon shattered by his father’s callousness. He forces his son to write a farewell letter to Sally, thus making him betray the only truthful emotion in his life - his love for Sally - and consequently driving him to suicide. After the birth of her son, the only available job for Sally is one as a singer in a rather dubious “café” - a fact that her father-in-law utilizes to get custody of his grandson Leonard Jr.. Without any mercy for Sally, he takes the baby away without even allowing her to see her son for the last time.The years go by - Leonard Jr. is a grown-up man now and as soldier in WW1 stationed in France. One evening he takes his girl-friend Eloise (Jean Parker) - a nice, slightly naïve French girl - to a café and bordello run by Madame Blanche who is no one else but Sally. Furious because his plans with Eloise don’t develop how he has been hoping, Leonard gets involved in a drunken brawl. Sally recognizes her son and tries to calm down the situation without identifying herself. She almost succeeds but then Eloise’s father turns up and Leonard shoots him in self-defense. Sally gives him an alibi and is determined to protect her son no matter what it takes…

Madame Blanche and her son...

Does this story sound familiar? Something you have already seen or read? Something like “Madame X” for instance? Yes, of course, we know those kind of stories about sacrificing mothers, decent chorus girls getting pregnant by playboys, vicious fathers or mothers-in-law spoiling their children’s happiness and not recognizing a heart of gold when they see one …but sometimes it’s pleasant to watch a well-known story especially if it offers so many "Dunnish" pleasures like this one.

...ain´t she beautiful?

This movie really grew on me by rewatching it, because watching Irene’s films in chronologically order and being at that point of her career, I appreciate more things about “The Secret Of Madame Blanche” than I did when I first had a look on it. And this film really has some assets which make it worthwhile watching: it’s a lush MGM production with a beautifully in Adrian creations dressed and well photographed Irene - something we haven´t had the chance to see too such extent till now.The folks at MGM certainly knew how to present female stars!

at last - singing again!

Once again - like in “The Great Lover” - it took a loan-out to MGM to take advantage of Irene’s abilities as a singer - and she really gets the chance to show her voice. There are three numbers: a grand finale with chorus - makes you a little wonder about her status in the company, but I won’t be too petty-minded when I get such a treat - a song with piano solo, and a wonderful, ambiguous number for young Sally working at the café. The score is by Dr. William Axt, a name I´d never heard before, but he has written quite an amount of scores for well-known MGM films and I certainly love that following number called "Jimmy":

Love that scene! And here it is...

This trio presents Irene’s singing voice in a nice range - and me like that!

Well, that’s Irene as singer and Irene the actress gets a show too. She liked playing characters who aged and that’s no wonder looking at how good she was at that. Madame Blanche´s voice, her body language, which tells a lot about Sally’s fate without saying a word, that´s perfectly done. Moreover, out of young Sally Irene creates some moments that are really touching …once again Miss Dunne refines a film with her presence.

Madame Blanche

What about her peers? There is not much to tell - I’m still waiting for a leading man who is the same league as Irene, but I know he will come!Certainly not in the person of Philip Holms who gives a wooden performance but at least, he and Irene make a handsome couple. Lionel Atwill is a sure bet in one of his  performances as villain and proves why he had to play such characters so often. If there is anybody who leaves an impression in this Irene centered film, it’s Douglas Walton as Leonard Jr..

Okay, that’s not a great, high quality film and don’t ask me about that corny end…but “The Secret Of Madame Blanche” definitely grew on me.

No Other Woman

Irene with Charles Bickford

Release date January 06. 1933

“I can understand you getting drunk, but that other woman…”

“Yes, I know how you feel, but you are wrong. That dame didn't mean a thing. She just happened to be a drinking partner…No woman can ever mean anything to me but you…but a dumb egg I am to take a chance on losing you!”

“I'll never let you lose me, Jim!”

plays an important role: the steel mill

Anna (Irene) and Jim (Charles Bickford) are a young couple in Pittsburgh whose fate seems to be attached to the steel mill - the life lying ahead of them a rerun of their parent's lives. Jim being content and striving for nothing more than the position of a foreman at the plant has no understanding for Anna whose goal is to better herself, leave Pittsburgh, “meet fine people and go places”. Despite their different point of views, they marry and Anna -still craving for a change of their predetermined path - takes in boarders to earn some extra money - extra money to give them the chance to leave the steel mill behind. This chance comes when Joe Zarcovia (Eric Linden) one of Anna's boarders and a chemist discovers a dye made from mill waste. Anna being convinced that Joe has developed something important tries to persuade Jim to invest the saved money in a business partnership with Joe. Jim - fed up with boarders in the house and penny pinching - reacts furiously and absconds on a drinking binge. Sober again and loving Anna enough to listen to her, he is accessible for sensible reasons and the couple decides to invest in Joe's dye business. Obviously the trio has stricken a gold mine: the plant is growing, a mansion built, servants are at hand and last not least the coveted son is born.

at last in the mansion - with another curly, cute movie-son!

Could be the Happy End but is not because Jim begins an affair with Margot Von Dearing (Gwili Andre) who urges him to divorce Anna. At last Jim agrees but Anna - being sure that this is only a fling and her husband will return to her - refuses to give him a divorce. The result that Jim sues her for adultery leads to an ugly divorce trial …

the morning after the drinking binge...

With its duration of only 59 minutes, this is a quick shot of a film moving on an incredible fast narrating trail, which is partly one of its problems. Another one is the patchy, uneven story - very strong in the first part, weak and unbelievable in the second half. As interesting as the exposition of Jim and Anna as couple and their life under the shadows of the steel mill is, as regrettable is the turning to this rather conventional story of adultery. I would wish for a film telling me how this rather diverse pair adjusts to wealth and the emerging consequences, telling me how a plain steelworker handles the investment of millions… what I get is another philandering husband sending Irene on her next suffering spree.

the wedding...

This is even more deplorable because the first twenty minutes are absolute worthwhile watching: capturing the everlasting presence of the steel mill with constantly flashing lights, inviting us to Jim's and Anna's rough wedding or making us smell the kitchen odors of the boarding house- all impressively pictured by director J. Walter Ruben.  And there is Irene - only made up with the minimal obligatory Hollywood makeup - showing new facets as plainly dressed keeper of a boarding house, busying herself over greasy pans on the hearth, or as young exhausted bride having to dance all night through with the guests while her groom gets drunk - all of which looks convincing and natural.

cooking for the boarders...

first morning as wife...after a "dancing night"!

Fitting to this naturalness and to the fact that this is still a pre-code is one aspect of the relationship of Jim and Anna. Jim's response to Anna's statement that she will never marry a steel worker is just to laugh mockingly at her, to take her in his arms and to start kissing her…of course Anna melts away and the next scene is the wedding. There is a kind of attraction between human beings which has nothing much to do with being clever or sensible or wanting to get out more than (almost) anything in the world.

Charles Bickford - though not the handsomest guy in the world - offers the required, male self-assurance almost in passing but has to fight like Irene the flaws in the script, which make him look stupid in the second half. Just when I had understood why Anna saw something more than an ordinary steel worker in him! But why he falls for Gwili Andre - another European actress who they tried to invent vainly as “new Garbo" - isn't understandable, obviously this dame is only interested in his money. The fact that Andre neither in the looks department nor in the acting department was a second Garbo doesn't help matters either.

the triangle...

No, I will not recommend switching off an Irene Dunne film after the first twenty minutes but I recommend watching it because of those first twenty minutes - and maybe you want to know how Anna and Jim ended…

Nice Irene tidbit:  in one scene she plays golf,  which was Irene's sport of choice in real life - and as it was with that capable lady - she had a good handicap!

Irene playing Anna, playing golf like Irene...that's

ars imitating life!

Thirteen Women

with Myrna Loy

Release date October 14.  1932

"Stop talking about it, stop thinking about it! Anyone can think themselves in anything!"(Laura)

"What have I done? What have anyone done to make you so inhuman?"

"Do I hear the very human white race ask that question?"

Ursula Georgi (Myrna Loy) a Javanese/Indian half-caste who had to endure a lot from her classmates that led to her leaving school searches for revenge. Via clairvoyant Swami Yogadachi (C.Henry Gordon), she sends them terrifying horoscopes using her knowledge about them and believing that the power of suggestion will make the predictions come true. Soon the first women are victims of self-fulfilling prophecies: accidents, murder and suicide seem to be their inescapable fates. Even the Swami can´t get away from what is written for him in the stars and throws himself in front of a train - hypnotized by Ursula though. Alarmed by those premature deaths young widow Laura Stanhope (Irene), the most sensible and poised one of the whole troupe, tries to assemble the last of the sorority sisters trying to "laugh those fool horoscopes right out of our heads". However, before the gathering the next victim is to bemoan...should Laura take seriously her horoscope which predicts the death of her son Bobby? Who has sent those poisoned candies for his birthday? Can police sergeant Barry Clive (Ricardo Cortez) stop Ursula? Who will win the mental battle between Laura and Ursula...

 Laura with Bobby (Wally Albright)

That´s an interesting, odd, disturbing little film which hadn´t the luck of being successful in its time but has got some appreciation in the last years. After poor reviews, "Thirteen Women" was edited from its initial 74´minutes down to 59´minutes, which is the duration of the print we can watch nowadays. Those missing 15 minutes explain some of the discrepancies of the script - to start with the fact that there are only 10 women and not the announced 13. Two characters were deleted completely and as rumors will have it a scene of Myrna chasing Irene through a train - I´d love to watch that! Considering what is packed in the surviving 60 minutes one can only imagine what happened in this missing quarter of an hour. Even the fact that RKO held back the release of  "Thirteen Women" to take advantage of Irene´s great success in "Back Street" didn´t help matters. It seems this story of deleting one victim after the other, which reminds slightly of slasher elements of our modern films was just too brutal for contemporary moviegoers - and I assume that this film was quite a shock for Irene Dunne fans having still the impression of "Back Street" on their minds.  

Ursula (Myrna Loy) gone wild...

The most compelling role is the one of murderess Ursula which is fortunately in Myrna´s very capable hands. Made up almost unrecognizable as an exotic vamp she finds impressive, calm-sinister facial expressions making the hypnotic impact believable. In an intense scene between Ursula and Laura shortly before the climax and end of the film she hurls her accusations into Laura´s face: the rejection of the girls which led to her leaving school had the most horrible consequences for her. It´s not said directly but it seems that she had to prostitute herself. Though Ursula is brutal, sexual-manipulative, and even tries to kill an absolutely innocent child one can´t help to have some kind of understanding for her, especially because all of her former classmates - but Laura - are rather weak characters. All of them have their weak spots like Ursula had hers having to live as a half-breed with all the occurring prejudices against her - it´s implied that with one chance Ursula could have made it...an interesting mixture of crime and action elements with a social background! 

Action, action!

As Myrna is typecast in this period as exotic vamp - still some way to the "Thin Man Myrna" - Irene is typecast as being poised, behaved and sensible - the most interesting aspect being that she is totally defined through motherhood in this film. Irene´s screen persona certainly had a maternal streak through the years; she played 18 times a mother in her 41 films. I can´t imagine that "Thirteen Women" was much of an acting challenge for Irene - not after "Back Street" - but it´s surely once again a consolidating of her screen image.

Irene...hypnotized...

Although Myrna only gets third billing behind Irene and Ricardo Cortez, her role is the most extensive one. For me this film is more interesting as a Myrna Loy film and an early representative of its genre than as an Irene Dunne film - but of course having two of my favorite actresses at hand playing an impressive scene together is a real treat!

This time the last word is reserved for Miss Loy - she deserves it:

"The only one who escaped me in this picture was Irene Dunne, and I regretted it every time she got the parts I wanted."("Being And Becoming" by Myrna Loy)

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!

Symphony Of Six Million

Publicity for "Symphony Of Six Million" with Ricardo Cortez

Release date April 29.  1932

"I dedicate these two hands in service...That the lame may walk, the halt be strong...lifting up the needy, comforting the dying...This is my oath in the Temple of healing."

In every Hollywood career seems to be at least one film which makes you wonder ,well, this is one of those. It´s a small role, it´s back to second billing again and if there is a Dunne film in which she is miscast that´s the one.

Some possible reasons: studio politics? There is always a star rooster to consider...

Putting the increasingly popular Irene in as many vehicles as possible? It seems that Pandro S.Berman - new associate producer under Selznick  - was determined to do so...

Trying go give Cortez a boost by pairing him with an established leading lady? Cortez doesn´t look excactly like a newcomer to me...I personally remember him mainly as being killed off early in several of Kay Francis´ films and erotically dancing Tango with Joan Crawford in "Montana Moon".

                                            

                                           as Jessica

And why did Irene accept that? In that period  she is described as being "pliable in accepting roles handed to her"("The RKO Gals", James Robert Parish). I imagine that this was partly due to her private situation: Irene and her husband Francis Griffin lived bicoastal from 1930 till 1936 and she tried to spend as much time as possible with him in New York. Irene had a clause in her contract that the studio had to provide her with a ten days notice before the beginning of the next film. The sheer amount of work - she made about half of her films in her first six years in Hollywood - and keeping a relationship alive from coast to coast must have been quite a task without fighting about every film...but who knows? Not me, but I know about the result:

  

                      family evening...

Jessica (Irene) - handicapped by a limp and the inability to use her right hand - and Felix (Ricardo Cortez) grew up together in Manhattan´s Lower East Side in the Jewish quarter. Since his childhood days Felix had dreamt of becoming a surgeon and at last - with a lot of hard work and the loving support of his working class parents - this dream came true. He practices happily and sucessfully in his poor Jewish neighborhood and spends his little spare time with Jessica who found her place in life working as a Braille teacher. The disturbing influence in this setting is Felix´ brother Magnus (Noel Madison) having the idea that his brother´s profession ought to gain the family some money. Loving his family and feeling a deep obligation towards them Felix moves on to West End Avenue and ultimately to Park Avenue. The more money comes in the more Felix loses his Hippocratic ideals and the track of what he really wanted to do in life - which certainly was not to take care of rich hypochondriacs.

The real crisis comes when Felix isn´t able to rescue his father who dies on his operating table. In his sorrow and feeling that he can´t go on with medicine Felix turns back to Jessica, who takes a vital step to help him...

                               

                                working in the "ghetto".....

    

                              Felix´new clientele

The best about this filmization of a Fannie Hurst novel is the description of  Jewish life in the Lower East Side "ghetto". We get a wonderful look at young Felix´ family life, just a normal evening, the family members all trying to do the things they like, neighbors popping in and out - a bunch of atmosphere.

Just to mention it all of this takes place before Irene even enters the screen.

    

                      all the family members together...

My secret stars of the film are Mama (Anna Appel) and Papa (Gregory Ratoff) handling their family affairs or chatting with acquaintances - all well directed by Gregory LaCava. This film has a full-fledged score which wasn´t common in 1932, and though I love Max Steiner in latter years, his music distracts me this time. It´s just too pathetic interpreting Felix´ emotions, which brings me to Ricardo Cortez who is rather strained carrying a film like this. Irene - with dark dyed hair but still somehow looking out of place in this Jewish ambience - hasn´t much to do here but offers us a foretaste of what is lying ahead of Miss Dunne and us - a lot of on screen suffering...

                   taking a vital step...and some suffering!

My bottom line: interested in the portrayal of Jewish life on screen? This film is a must see!

Interested in medical issues? Watch it and don´t miss "The Citadel" and "Men In White" either!

Only interested in Miss Dunne? Well, only recommended for human beings who like me have an urgent desire for completeness. For the rest of mankind: move on to more interesting Dunne movies!

Consolation Marriage

                  The romantic proposal...with Pat O´Brien

Release date November 21.  1931

"Sure - getting married isn´t a great lead for a couple of moody fighters like us! Might give us a chuckle or two..."

A film about first love and laughs, illusions and laughs, crying for the moon - and laughs!

Steve Porter (Pat O´Brien) is at last at the goal of his dreams: he has a good job as reporter and  can afford to marry his childhood sweetheart Elaine (Myrna Loy). But Elaine, Myrna in her nasty vamp phase, plays accordingly to her image, and is already married when Steve turns up to fetch her. We don´t get to know her husband but looking at Elaine´s surrounding that guy seems to be rich...poor Steve ends as up as being a clunk which throws him off the track.

The fate of Mary Brown (Irene) isn´t any better. Her valentine Aubrey (Lester Vail) - a promising young pianist at the brink of marrying rich to get his career in full swing - declares shop girl Mary his love before he leaves for the altar. As long as she waited for his love declaration as shattered is she now.

                            Aubrey on his way to the altar...

Steve and Mary - those two lost, suffering souls - meet in a speakeasy both celebrating the weedings of their bygone beloveds. It´s interesting how Irene is presented here: Steve´s sidekick  - that practical film instrument this time done by John Hallyday - tries to distract Steve by telling him about millions of nice girls who are around, just like the one sitting at the next table. Well, the nice girl is Miss Dunne, by the way the star of the film!

            Meet a nice girl...there are millions around!

What can two lost souls do? They try to comfort each other and the method of their choice is to share some laughs - not the worst idea for finding some consolation. Trying to give a dog which they bought together a home they decide to marry under the premise of an open marriage. No romantic feelings - those are still reserved for Elaine and Aubrey - and if the whole thing doesn´t turn out right, it´s goodbye without trouble or blurbs. As odd as this relationship is, it´s not platonic because a cute curly offspring is soon the result. Sounds all nice and cozy and my Irene already starts to sing while setting the table for dinner, but then the valentines and sweethearts pop up again...

   The Porters and one shadow from the past in the background

Okay, that´s not much of a storyline and soon we know in what direction the whole thing is heading, but "Consolation Marriage" defenitely has its charms. Being still a pre-code there are some options possible which will be lost in the summer of 1934. First and foremost the handling of the instituition of marriage which is treated neither as a till-death-do-us-part relationship nor like a meaningful, responsible tie between two people, but as a playground for having fun - and sex.

Having fun...                                                              

             and more fun...

A scene in which Mary tries to explain her little kid why she has to leave by saying "What is a baby more than an episode in a woman´s life?" - really took me by surprise because it breaks with all accustomed expectations of motherhood. Of course she didn´t mean it, and I guess I won´t spoil too much by telling that Mary and Steve are a very married couple - with all consequences. Even a pre-code has to return to and to emphasize the universally valid society values.

The bottom line of the film that clinging to our past, to illusions and "crying for the moon" hinders us from living, appreciating and loving the present(s) isn´t new but handily displayed.

                           Another shadow from the past...

Back on the RKO lot from her loan out to MGM Irene gets for the first time the real star treatment billing above the title,  but has to share a lot of screen time with Pat O´Brien. In fact we learn more about his character´s background than we learn about Irene´s. What really impressed me about her characterization are the 15 last minutes of the film. She out acts a touching balance of trying to react bravely to the possibilty of Steve leaving her and being heartbroken about the situation. It´s a steady twist between those contrary emotions and she masters this movingly.

                Trying to be brave...Elaine is preparing for Steve

Under one aspect this film is very "Dunnish" because for the first time it´s Irene´s "normal" speaking voice in opposite to the slightly higher pitched voice she used for Helene and Diana. Of course Irene is going to use the instrument of her speaking voice back and forth, up and down accordingly to her roles throughout her career, but nevertheless this is the speaking voice we are accustomed to.  

                 Irene at the premiere of "Consolation Marriage"

I´m not much of a Pat O´Brien enthusiast but his type is just right for Steve and he and Irene have some good moments on screen - especially when they are kidding around  and sharing some chuckles.

Kindly I get two personal extras in this film: to start with a song - which isn´t much of a surprise considering with whom we are dealing -  but always welcome. This time it´s only Irene and her piano, melancholy singing hers and Aubrey´s torch song "Devotion" - plain and simple beautiful. And there is Myrna - really not much of a part, and dyed blondish she looks odd, but it´s always good having Myrna around!

And don´t forget : "Stop crying for the moon!"

PS. Here is a little extra service for my German friends who are babes lost in the wood when it comes to old Hollywood. Nonetheless they face bravely and kindly a lot of Hollywood/ Irene talk nowadays - thanks, folks! And here is the answer to the urgent question  -thanks to Wikipedia:

                          

  What the heck is a pre-code film??

Susanne