Eleventh in a series about strong women in film. Strong women are independent, beautiful, sexy, feminine and just want everything in life that a man wants and believe that they have every right to have it!
There must be something in the air these days. A year ago, Irene Dunne's name was barely mentioned. Suddenly, she seems to be everywhere and everyone is once again in love with Irene. And that is as it should be. Sometimes, the universe does get it right.
Irene Dunne was a star in an era of great women stars. She excelled in musicals, weepies and screwball comedies. She could certainly hold her own against the greatest of the era (Carole Lombard, Jean Arthur, Katharine Hepburn), but there was something slightly more mature about Irene (she was a tad older than the rest, but I'm not referring to chronological age). She could be silly, but she never seemed the Damsel in Distress. No matter what the situation, Irene always seemed to be able to handle it herself. If she let a man intervene, well, it was because she wanted it that way.
Irene got her start in stage musicals and was brought to Hollywood after staring in a road version of Show Boat. Her debut film, 1930's "Leathernecking", wasn't much, but her next film, "Cimarron", put her on the map to stay. Irene became the queen of the "weepies," dramatic films that appealed to a female audience. She had hit after hit in such films as "Back Street", "The Silver Cord", "If I Were Free," and "The Age of Innocence". Said Irene: "Heavy dramatic roles are essential for an actress of my type. I know definitely that the status that I have achieved has been achieved through tears. So, for my career, I cry."
With her lovely operetta-style voice, Irene always seemed to be a Jerome Kern gal. Besides her success in such musical films as "Show Boat" (her Magnolia is my favorite) and "High Wide and Handsome," Irene also famously appeared, along with Astaire and Rogers, in "Roberta." Although she sang the lovely Smoke Gets in Your Eyes, (a song that was always associated with her and played when she entered restaurants throughout her life), she was especially pleased that Kern wrote a song just for her in the movie version of the Broadway show. It was one she sang to perfection and one that described her perfectly: Lovely to Look At.
As if all of this wasn't enough, she finally dipped her dainty toes into comedy, starting with 1936's "Theodora Goes Wild", and that, as they say, was that. As the small town girl who writes a racy novel, she proved that her comedic talents were of the highest order.
One last Word - Irene in Furs
Irene never considered herself a fashion plate and allegedly did not enjoy posing for portraits, but she had a kind of effortless American elegance that always looked "just right." Irene seemed to wear an awful lot of furs in her films and, in the unenlightened age before faux, she carried if off with great aplomb. No European Glamour with a capitol "G," just good old American good taste, clean lines and Movie Star grace.
Throughout her film career spanning from 1930 to her last film ("It Grows on Trees") in 1952, Irene Dunne displayed a vision of women as suffering, giddy, dignified, delightful and always competent and in command of their inner strength. In real life, she was married to the same man for 37 years until his death, was never part of any scandal and devoted herself to good works after her retirement from the screen. Irene Dunne was a team player (almost always the team ace, by the way), never hogging the spotlight or overshadowing her teammates. Her great gallery of performances speak of not just talent, but of wit, strength and intelligence.
Aren't as familiar with Irene Dunne as you'd like to be? These are my top baker's dozen "Dunnies."
1. The Awful Truth: 1937: Irene and Cary Grant at their very best (and that's saying an awful lot). Very, very funny.
2. My Favorite Wife: 1940: Irene and Cary Grant again. Again, very, very funny.
3. Penny Serenade: 1940: The third part of the Irene Dunne/Cary Grant trifecta, only this time an emotional story of a marriage. Hankies required.
4. I Remember Mama: 1948: She's the mama that everyone wants. Touching, moving and memorable.
5. Show Boat: 1936: Irene is my favorite movie Magnolia. The film is not as good as the later MGM version, but with Irene and much of the original unforgettable cast (and an attempt to stay closer to the book's story, rather than the Broadway show book) it is memorable and precious.
6. Roberta: 1935: A beautiful film in so many ways It is light and airy as a feather and Fred Astaire and Ginger Rogers really make the movie for me, but Irene is lovely, as are the fashions.
7. Life With Father: 1947: Another lovely and very funny mother portrayal. Her pairing with William Powell is divine.
8. Back Street: 1932: The original version of this "weepie" is still the best. Irene makes it all believable and that handsome old thing, John Boles, is in it, too.
9. Theodora Goes Wild:1936: Irene's initial foray into screwball comedy and, aided by the great and underrated Melvyn Douglas, she is a pure delight.
10. Love Affair: 1939: The wonderful first version. Sorry, Cary (star of the remake, "An Affair to Remember"), but Irene and Charles Boyer are as light and sparkly as their favored pink champagne.
11. A Guy Named Joe:1943: Co-starring Spencer Tracy and Van Johnson, this is one of those wartime romances that goes straight to the heart (even though you know it's over the top). Irene, however, is wonderful and gets to sing the beautiful I'll Get By.
12. Anna and the King of Siam: 1946: NOT "The King and I," which makes it most interesting. And, it does have Rex Harrison as the king. Ever notice how Deborah Kerr inherited many of Irene's roles later on?
13. Magnificent Obsession: 1935: An unabashed sudser, and one that propelled Robert Taylor to stardom. Get out the Kleenex for this one.
The Irene Dunne film I long to see: I am ever on the lookout for 1931's "Symphony for Six Million," one Dunnie that has so far escaped me. Come on, TCM!
If you know Irene Dunne, I'm sure you adore her. If you don't know her, discover her. You'll be oh so glad you did! Promise!
There must be something in the air these days. A year ago, Irene Dunne's name was barely mentioned. Suddenly, she seems to be everywhere and everyone is once again in love with Irene. And that is as it should be. Sometimes, the universe does get it right.
Irene Dunne was a star in an era of great women stars. She excelled in musicals, weepies and screwball comedies. She could certainly hold her own against the greatest of the era (Carole Lombard, Jean Arthur, Katharine Hepburn), but there was something slightly more mature about Irene (she was a tad older than the rest, but I'm not referring to chronological age). She could be silly, but she never seemed the Damsel in Distress. No matter what the situation, Irene always seemed to be able to handle it herself. If she let a man intervene, well, it was because she wanted it that way.
The way she talked was the single strongest impression I have to this actress - not her poise, her charm, her delivery or her warm appeal in a specific role. The tip of her tongue pressed ever so lightly behind her teeth, which automatically dimpled her cheeks and caused her to arch her eyebrows, not in any exaggerated manner but just enough to transform her whole face into the most beguiling girlish sauciness that endeared her to every member of the audience, men and women alike and children, too. One heard it even as one saw it. Laughter was invariable. One would succumb. It was inexpressibly endearing.-John Kobal, People Will Talk (1985)This was as good a quote as I find about the very special way Irene spoke. I confess I have watched her hundreds of times and just can't figure out how she does it! But, I guess that what makes her magical and like no one else.
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| 1936's "Show Boat" - What a cast: Irene Dunne, Paul Robeson, Hattie McDaniel and Helen Morgan |
With her lovely operetta-style voice, Irene always seemed to be a Jerome Kern gal. Besides her success in such musical films as "Show Boat" (her Magnolia is my favorite) and "High Wide and Handsome," Irene also famously appeared, along with Astaire and Rogers, in "Roberta." Although she sang the lovely Smoke Gets in Your Eyes, (a song that was always associated with her and played when she entered restaurants throughout her life), she was especially pleased that Kern wrote a song just for her in the movie version of the Broadway show. It was one she sang to perfection and one that described her perfectly: Lovely to Look At.
As if all of this wasn't enough, she finally dipped her dainty toes into comedy, starting with 1936's "Theodora Goes Wild", and that, as they say, was that. As the small town girl who writes a racy novel, she proved that her comedic talents were of the highest order.
One of the more civilized women. She's a dream, an absolute dream, one of the most professional women I've ever known. Nothing is instinctive, everything she does is carefully thought out, she knows every movement, every intonation, every nuance. She's a first-class crafts-woman. Her hours are like office hours, she's never late, she never slips, but instead of being dull and perfect, she's absolutely enchanting and perfect."- Douglas Fairbanks, Jr., Irene's co-star in "The Joy of Living"Everyone, it seemed, loved Irene. It is well known that she was Cary Grant's favorite co-star. They were brilliant together in the wonderful comedies "My Favorite Wife" and "The Awful Truth," as well as in the heartbreaking drama, "Penny Serenade." Watching them together, they were perfectly complementary. Both are exceedingly clever without tremendous ego. They share, they spar and they support one another beautifully. So adult, don't you think?
One last Word - Irene in Furs
Irene never considered herself a fashion plate and allegedly did not enjoy posing for portraits, but she had a kind of effortless American elegance that always looked "just right." Irene seemed to wear an awful lot of furs in her films and, in the unenlightened age before faux, she carried if off with great aplomb. No European Glamour with a capitol "G," just good old American good taste, clean lines and Movie Star grace.
Throughout her film career spanning from 1930 to her last film ("It Grows on Trees") in 1952, Irene Dunne displayed a vision of women as suffering, giddy, dignified, delightful and always competent and in command of their inner strength. In real life, she was married to the same man for 37 years until his death, was never part of any scandal and devoted herself to good works after her retirement from the screen. Irene Dunne was a team player (almost always the team ace, by the way), never hogging the spotlight or overshadowing her teammates. Her great gallery of performances speak of not just talent, but of wit, strength and intelligence.
Aren't as familiar with Irene Dunne as you'd like to be? These are my top baker's dozen "Dunnies."
1. The Awful Truth: 1937: Irene and Cary Grant at their very best (and that's saying an awful lot). Very, very funny.
2. My Favorite Wife: 1940: Irene and Cary Grant again. Again, very, very funny.
3. Penny Serenade: 1940: The third part of the Irene Dunne/Cary Grant trifecta, only this time an emotional story of a marriage. Hankies required.
4. I Remember Mama: 1948: She's the mama that everyone wants. Touching, moving and memorable.
5. Show Boat: 1936: Irene is my favorite movie Magnolia. The film is not as good as the later MGM version, but with Irene and much of the original unforgettable cast (and an attempt to stay closer to the book's story, rather than the Broadway show book) it is memorable and precious.
6. Roberta: 1935: A beautiful film in so many ways It is light and airy as a feather and Fred Astaire and Ginger Rogers really make the movie for me, but Irene is lovely, as are the fashions.
7. Life With Father: 1947: Another lovely and very funny mother portrayal. Her pairing with William Powell is divine.
8. Back Street: 1932: The original version of this "weepie" is still the best. Irene makes it all believable and that handsome old thing, John Boles, is in it, too.
9. Theodora Goes Wild:1936: Irene's initial foray into screwball comedy and, aided by the great and underrated Melvyn Douglas, she is a pure delight.
10. Love Affair: 1939: The wonderful first version. Sorry, Cary (star of the remake, "An Affair to Remember"), but Irene and Charles Boyer are as light and sparkly as their favored pink champagne.
11. A Guy Named Joe:1943: Co-starring Spencer Tracy and Van Johnson, this is one of those wartime romances that goes straight to the heart (even though you know it's over the top). Irene, however, is wonderful and gets to sing the beautiful I'll Get By.
12. Anna and the King of Siam: 1946: NOT "The King and I," which makes it most interesting. And, it does have Rex Harrison as the king. Ever notice how Deborah Kerr inherited many of Irene's roles later on?
13. Magnificent Obsession: 1935: An unabashed sudser, and one that propelled Robert Taylor to stardom. Get out the Kleenex for this one.
The Irene Dunne film I long to see: I am ever on the lookout for 1931's "Symphony for Six Million," one Dunnie that has so far escaped me. Come on, TCM!
If you know Irene Dunne, I'm sure you adore her. If you don't know her, discover her. You'll be oh so glad you did! Promise!
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