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Thanks for the memories!

Memorable, crazy movie

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Pat O'Brien and Irene Dunne seem distinctly not made for each other in this odd romance, where she, a coffee shop proprietress, and he, a sports writer, are jilted by their respective fiances, meet cute, get a nice friendship going, and decide to get married. The open-marriage conceit feels daringly modern for 1931, but the dialog's pat and the plot coincidences are hard to swallow. Their respective true loves, Myrna Loy and Lester Vail, each come back from failed marriages at about the same time, and Dunne and O'Brien each leaves his/her spouse to pick up the pieces. It's hard to see why, when Loy is playing such a vain bore, and Vail such a needy weakling, and Dunne has an uncomfortable speech where she says goodbye to her baby daughter--her baby daughter!--to run off with an old lover. We all know the leads are going to discover they really love each other, but it's done so perfunctorily, with O'Brien just remarking to Loy, "Wouldn't it be funny if we turned out to be just friends?" and bolting upstairs to Dunne just in time for the happy fadeout. That's another thing--she can't make a great deal of money running a coffee shop, and he's unemployed more often than not, yet they have a gorgeous New York townhouse. Dunne's skill is somewhat evident, and O'Brien's fast talk is always entertaining, but he's not an ideal romantic lead, and this is not a credible romance.

This is without question Myrna Loy's worst movie (#44 that I saw). I thought there is no way you could take her and Irene Dunne, put them in a movie, and have it turn out bad. The problem was not that she was a bad character (she was that, but she played them before and better (including versus Irene Dunne in the classic horror film 'Thirteen Woman')), she was wooden and extremely unattractive with no figure. Dunne was also unattractive to look at with that haircut. I especially did not like the open marriage theme between Dunne and Pat O'Brien (spoilers ahead Dunne's near abandonment of the kid stands out). Come to think of it, there was not one character I actually cared one iota about. Who was best? It was actually Dunne, but that was only in comparison to Loy and O'Brien. I give it a generous one star.

If there's a single thing that might have saved this film, it probably would have been music. But this is one of those early films where music was seen as only needed during the opening and closing credits. So, in between, there's an awfully lot of "dead air". "Dead air" while the main characters silently emote, and "dead air" between scenes. It makes the movie seem very, very long, although it's actually only 81 minutes long.The premise of the film is actually interesting. A man (Pat O'Brien) and a woman (Irene Dunne) each break up with the loves of their lives (for the man, it's Myrna Loy). They then have a chance meeting in a bar/restaurant. They don't exactly fall in love...it's more a relationship of convenience...better to be together than alone. They marry, with the understanding that if their true loves return, they're each free to make their own decision. A child is born. And then, at the same time, the old lovers do return. Dunne leaves her baby and heads off with her lover (Lester Vail). But within hours, realizes she loves not only her baby, but also Pat O'Brien. She returns home to find that O'Brien is going to meet Loy, but instead she suggests bringing her to the house. Which O'Brien does, and that leads to a very awkward scene where Dunne attempts to keep a stiff upper lip and be very modern about what is happening...but ultimately breaks down in tears.Strikes against each character. Vail and Loy for horning in on a marriage...doubly so for Loy because she is such a cold woman here. Strikes against Dunne for being willing to give up her baby and husband...at least for a while. Strikes against O'Brien for bringing the other woman to his home to meet his wife.The actors play their roles relatively well, it's just that it's difficult to really like any of the characters very much. Each of the characters is remarkably callous at various times, and there's no clear good or bad guys (and gals) here. I did enjoy supporting actor John Halliday The movie is worth wading through if you like really old movies, though you won't want to wade through it more than once, and I doubt you'll want this clunker on your DVD shelf.

Since I first saw "The Awful Truth," Irene Dunne has been one of the few performers whose presence in a movie will make me watch it. No matter what.This one is a real case of no matter what.(For the record, the others include Jean Harlow, Jean Arthur, and Constance Bennett.)This is a women's picture, directed at a snail's pace.In it, Ms. Dunne sports an exceptionally unflattering hair design, which makes her virtually unrecognizable as the star of such classics as the above-mentioned "Awful Truth," Theodora Goes Wild," and "Showboat."She looks like Edna May Oliver. She looks like Eleanor Roosevelt (my greatest heroine of the past two or three hundred years but hardly a beauty.)In this poky tale, Dunne actually leaves her child briefly. The child is indeed pudgy and very unappealing but women must have stalked out of theaters at that point.She and Pat O'Brien are not the most likely of couples but they are meant in the plot not to be. They are certainly more believable than Dunne and Spencer Tracy in unendurable "A Guy Named Joe."