A year of screwball comedies

The past year turned out to be quite an educational one for me, re-watching films, many of which I love, and trying to analyze them in my own way. I have no idea if I got any of it right or wrong, but I think I walk away from this experiment knowing that to have a successful film, the stars really do need to align. It isn't just about the fantastic script, or director, or actors, it all has to come together. Watching The Philadelphia Story with commentary really shows you how every tiny detail was well thought out, from the sets to the lighting, the casting to the rewriting. It's seeing to these details, the perfectionism, that created these fantastic films that still entertain us all these years later.

While I already knew the importance of all the parts in a story, I think what I got most out of this past year was learning all the trivia or noticing the details, memorizing lines. And there were films I gave a chance, when in the past I hadn't. There are a couple that I hadn't watched again and this time I did and tried. Trouble in Paradise I always liked, but it wasn't a favorite. I think after a month of it, I truly, truly enjoyed it and can say it's might be my favorite of the bunch. I say might because I think of The Awful Truth and can't quite decide.

My only regret is that in the last few months, I wish I would've had more time to watch the films. So I struggled toward the end, but was determined. I read scripts and for most was able to see the before and after, that for a film like Nothing Sacred was like night and day. Still wish they would've gone with the original draft. But overall, I'm glad I did this, that I finally took the time to watch a dozen films and really study them, some more than others, but really to understand the mechanics.

And now with this year being over, I walk away a little more empowered with knowledge, and with memories of lots of laughs.

Last look at The Awful Truth

Looking back at The Awful Truth, I really enjoyed the story and the performances that enhanced it. Oftentimes you look at a film and wonder if someone else could've done a better job, but here it's hard to find how it could be improved. From Cary Grant and Irene Dunne to even Asta, Leo McCarey rounded up a fine ensemble and pushed them to use their improvising skills to deliver a great screwball comedy.

So what exactly sets this film apart? For one, as I've mentioned before, Cary Grant. There's nothing more enjoyable in this film than watching Grant antagonize Dunne in scene after scene as she's trying to show him she's moved on. A lot of it is that he's simply a grown-up child, and not like the grown man children you see nowadays on the screen. Grant acts like a school boy but at the same time is desirable. You can't help but like him, root for him that he'll end up back with Dunne. And Dunne herself shows to be a perfect match for Grant. She's able to keep her demeanor as Lucy at just the right balance up against Grant's ever screwy Jerry. It's really a no-brainer that your two leads need to have chemistry, but it's more than that. The leads have to be able to pull off their performances in a convincing way. Again, McCarey really was able to get these performances by forcing the actors to improvise and in turn, they went through the scenes so naturally. Best of all, they look like they're having fun and you have fun watching them.

Another important factor for the genre is the tone. There's no mistaking what kind of film this will be from the beginning just from the way Grant enters the scene and starts talking. There's something about the way he delivers his lines that set him apart. He's able, just from the tone of his voice, to let you know that the next couple of hours are gonna be laugh, so sit back and enjoy. From the club, you head straight to the Warriners' home and there you find one unexpected event after another. Starting with Lucy not being home waiting for Jerry, the scene grows into a huge embarrassing moment for Jerry, who the whole time was so "concerned" about embarrassing Lucy if he showed up without a Florida tan. But really it's Grant who makes the scene by giving lines like, "the road to Reno is paved with suspicion." When Lucy finally appears, we get to see the pretenses that eventually turn into a fun bit of banter that leads to a declaration of divorce. And it all happens in the first ten minutes. Not only does the film move at a quick pace, but you're laughing the whole time and enjoying it.

Dialogue in this film is top-notch. The interesting thing is that in the script, there were some funny lines, but the funniest lines weren't conceived until shooting occurred I presume. Even though the copy of the script I read stated it was the final draft, it worked more like an earlier draft with none of the best lines in there. "The road to Reno" line is actually included in a different scene in the script, near the end at the Vances'. The change to include it in the opening sequence of the film is much better and sets the tone of the film as well. Right there we know the film is gonna be about how a marriage heading for divorce due to suspicion, but here it's a much more comical approach. And once again, Grant has the best line here: "How can you be glad to know me?" and "How can you know what it's like to use up the best years of a woman's life?" And while they might not seem that funny on paper, well it's because you have to see him deliver them. From facial expression to his voice, Grant sells these lines with an ebullient, although mischievous, performance.

There's also the strong supporting cast. Ralph Bellamy is silly as the farm boy from Oklahoma, who simply can't carry a tune and is apparently so naïve when it comes to women. He's the guy you know the leading lady will be better off with in the sense that he'll love her and never do wrong by her, but you also know that life with him will be absolutely boring--if you get bored in Oklahoma City, you can always go visit Tulsa! Now Cecil Cunningham as Aunt Patsy is the forerunner of what we now know as the leading lady's best friend; she's always smarter and one step ahead of the leading lady, and desperate to just go out and have her fun. Watching Cunningham is a lot of fun, especially because she's older and it's always fun to see older women still having spirit left in them. Esther Dale as Bellamy's mother and Alexander D'Arcy as Armand the music teacher also give fine performances, but you can't forget Asta. As Mr Smith, Asta plays the substitute child for the Warriners, and he's just adorable and too smart for his own good. It's obvious the actors had fun working with him. And what this entire cast does is exactly what a supporting cast is supposed to do and support the two leads by bringing quirk and fun into their performances, doing their part, but not too much so or too little that you get distracted. They deliver fine performances that enhance the story and allow you to root for the main couple.

Overall, The Awful Truth gives us a wonderful performance from Cary Grant and Irene Dunne, although this is more of Grant's film if anything. He truly makes this film by setting the tone and enhancing the dialogue. And while the ending doesn't turn out to be the big wonderful ending I was hoping for, it eventually grew on me. Mostly though, it was really genius of Leo McCarey to use an improvisational approach in making this film. It wasn't just Grant and Dunne, but the entire cast was able to really deliver a great film that is surely one of the best screwball comedies of them all.

Differences in The Awful Truth's script

After having seen a couple of screwball comedies that really work, that the actors personify the characters they represent so well, I can't help but wonder about the script. When I watched The Awful Truth, I was quite impressed by how natural Cary Grant's performance came about that I wondered a bit about the script development. Sure enough, I found out that Leo McCarey encouraged improvisation on the set and that many scenes were filmed on the fly. And while the script has some significant differences with the film, the core story is the same. Even still, at about 180 pages, the script is long and not as funny as the finished product.

One of the biggest differences that gave off a somewhat tedious reading was the dialogue. It just wasn't as sharp as in the film. The jokes that really made you laugh were nowhere to be seen, many of them were Jerry's lines. Too much time was spent on talking about the state of events without really needing for it. I think the great thing about this film is that you know the entire time that Lucy and Jerry are mad for each other. For one, neither wants to let go of Mr Smith, who is the very reason the two met to begin with. And then, Jerry is constantly getting on Lucy's nerve while Dan courts her, cracking sarcastic jokes, and never quite getting over the fact that he is certain Lucy wasn't faithful to him. Lucy's reaction isn't just what Jerry's after, but it's one of a woman who still gets hot and bothered over a guy. So, when the script calls for Lucy to confess and plead to Jerry near the end to give their marriage another chance, it kind of weakens her. Part of her charm is the fact that she's so stubborn at standing her ground. And in the beginning at the club, Jerry says the right amount to signal that he cares about Lucy. He's getting a fake tan and bringing a basket from "Florida" all so she won't get embarrassed, and he won't get the boot. But as the divorce is in process, his constant pestering after Lucy, shows you that he's crazy for her. There's no need for a diatribe in the beginning then for him to go off talking about how Lucy is the perfect wife and a bit uptight that he doesn't want to embarrass her with the type of friends he has, etc. You just have to show it, and that it is exactly what the film does. It cuts out so much of the unnecessary dialogue, which speeds the story along. As the script stands, much of the dialogue isn't even that funny to justify leaving it, and it was a wise decision on McCarey's part to improvise to see what he could get out of the actors. If it weren't for the improvisation, we would've missed the lovely rendition of "Home on the Range" from Ralph Bellamy and Irene Dunne.

One thing that distracted me in the script were some of the changes within the script. I have no idea how the script was written, whether Viña Delmar wrote it chronologically or before filming began. Because of some minor discrepancies, I'm inclined to think that it was written during production, although I'm not sure why if McCarey was improvising. I'd just write an outline. But in any case, the character of Armand in the script goes by three different names. Either that or there were three different paramours in Lucy's not-too-distant past. But I wasn't sure if the names were a running gag that fell short for me. There was a Tony Stewart and then Ricardo del Rio. It wasn't clear, so whatever it was the was going on, it was better that it was dropped and made clear that Armand was the one person constantly being referred to. But this wasn't the only case. Over at TCM, an article states how the Dan character was originally written as English, and this is indeed the case, for about one or two scenes that were eventually cut from the film. But when you read further on, you find out that Dan is from Oklahoma as in the film. I suppose a British man could have relocated to Oklahoma, but it was still distracting. Furthermore, when Dan's mother is once again introduced it's noted that she's British. So, this was something that had me confused and I wasn't sure what was going on. Again, these were minor distractions that didn't take away from the story, but they still distracted me.

Then there was the case of the Vances. In the script, the Vances are introduced before the whole fiasco of Armand, Jerry, and Dan all finding each other in Lucy's apartment. Mr Vance has a bigger role in the script and speaks more, almost cheering Lucy on in the end when he realizes who she truly is. But what bothered me about this introduction of the Vances beforehand is that it implies that Jerry was dating Barbara before the whole fiasco at the apartment instead of what the film suggest that Barbara was more of a rebound for Jerry. It kind of doesn't make Jerry as likable. The whole point of him losing Lucy and then bothering her like a schoolboy does when he's crushing on a girl is all for naught if you're trying to show that he still cares about her. Instead you think he's kind of a cad. The way the film ultimately changes the introduction of Barbara is much better suited for Jerry, as well as the fact that the film spends little time with Barbara and the Vances. We don't really care all that much about them so why spend time seeing them at a country club or a dinner or Jerry asking for Barbara's hand in marriage? It just takes focus away from the real story we care about. With the newspapers clipping montage, enough is shown to imply the seriousness of the relationship. So a good twenty pages are thrown out and for the better. The scene in which Lucy appears as Lola is so long and so uninteresting. Lucy goes on a diatribe that is pro-communism, which I found amusing simply because of the later repercussions of the blacklisted artists in Hollywood. So as amusing as it might be, it was unnecessary and completely going on a rant that was pointless and not all that funny. What is interesting though, is that the script I read had a retake script of eight pages or so in which the whole Lola scene is completely cut and more or less what it turns out to be in the film. A much sharper and concise scene is what we're left with instead, which is what much of the film turns out to be in comparison to the script.

It's always incredibly educational to read the script of a film to see the changes for better or for worse, and in these past readings I've seen both. The Awful Truth is no exception, but what's really refreshing is how in the end the film improves on the script, makes it shorter, funnier, and more relevant and to the point. The use of improvisation I'm sure helped the actors portray their roles more naturally, but it also allowed for a much more entertaining film, and McCarey was wise to go with his instincts on using that technique.

The way to one's heart in the screwball comedy

There is something that struck me the other day as I sat watching The Awful Truth. I've gone on about how Irene Dunne is the perfect match for Cary Grant in this film. She's all calm, cool, and collected, while he's all hijinks and hilarity, always trying to have a good time at others' expenses and in this case at his soon-to-be ex-wife. So, I found it interesting at how things turn at the end of the film, and how, suddenly, the roles are reversed, and here we have Dunne being more of the screwy one and Grant getting all serious and wanting to settle down with his new love. What does this say about the Lucy Warriner, and Jerry as well? And what does this say about the rules of the screwball comedy? The film's actually quite smart about it.

Lucy always seems to be the one who is in control. While Jerry is all over the place, getting irrational at the thought of his wife being unfaithful, Lucy acts as if she hasn't a clue as to what he's alluding to, at least at first. What Lucy's so good at is being steadfast, resolute; she hasn't been unfaithful. She catches Jerry in a peculiar lie with the California oranges, and suddenly the roles are reversed. She smiles and acts innocent, but Jerry can see through her game plan. But then Lucy is great at saying things like, "You've come home and caught me in a truth and it seems there's nothing less logical than the truth," and in way it leaves you as dizzy as it leaves Jerry speechless. So he doesn't believe her; she tells him to divorce her. When he won't, she initiates the proceedings.

Although this might seem like a spontaneous moment in which Lucy is caught off guard, she soon catches her footing at the divorce trial when she's granted custody of Mr Smith, and not so fairly either. What's most interesting is this custody fight over Mr Smith. When Lucy takes the stand, we get to hear how Lucy and Jerry met and it was when they both eyed the dog at the pet store and both claimed to be the first to claim him. While you could see this as each being stubborn and wanting to win one over on the other, both are fighting over a dog that basically is an important part of their now dead marriage, much like a child can be to a couple's marriage. Without Mr Smith, Jerry and Lucy wouldn't have met and gotten married, and yet both want to hang on to him. It's almost as if neither is ready to let go of what's left of the marriage. And in the end, while Jerry does get visitation rights, Lucy manages to win custody of Mr Smith. In fact, it always seems she's a few steps ahead of Jerry in all matters. She's not Penelope, waiting for Odysseus to come home, Lucy goes out to have fun, perhaps a little too much fun. You might think this doesn't make her likable, but Jerry's no saint either. And what makes Lucy fun to watch is that she just doesn't let bad things happen to her, she's smart and finds a way out of the mess.

Once Lucy meets Dan from Oklahoma though, things change a bit. Suddenly, Jerry starts to have his fun. Here we see Lucy's true colors. While she's still livid with Jerry, she has her pride. She wants to show him she's moved on and with Dan around, in spite of the fact that he's dreadfully dull, Lucy tries to do just that. Some of the best scenes between Grant and Dunne come in these middle sequences. Their bantering is so charged by his mischief and her annoyance. Dan sums it up best by describing the little red rooster and little brown hen back on his farm, "They fight all the time too, but every once in a while they make up again and they're right friendly." And while we didn't really need this reassurance, it's so dead-on. Lucy and Jerry both are trying to get on each other's nerves, and you only do that when you really care.

So now, Jerry does his best to instigate a bit of fun at Lucy's expense precisely because she looks so ridiculous with Dan. All the while, Lucy is trying her hardest to seem completely unfazed by his attempts. She puts on a good face for Jerry, giving him some biting backtalk whenever she can. As she told her aunt Patsy, she's completely over Jerry and is sure she never loved him to begin with. Which, of course, we know this means that she's mad for him. Lucy goes as far as accepting Dan's marriage proposal just to prove she's over Jerry. This, of course, leads to disaster simply because Jerry is trying to figure out Lucy's game plan. Lucy meanwhile is trying so hard to be one step ahead of Jerry that she doesn't realize what she's getting herself into, a marriage that'll include the constant interference of Dan's disapproving mother. But after all the shenanigans, and a great scene in which Jerry crashes Lucy's recital, Lucy realizes she's in love with Jerry. But Jerry can't seem to trust Lucy forasmuch as he might try, especially after he hides in Lucy's room from Dan, only to find Lucy's music teacher hiding in there as well.

Now, near the end of the film, is when things change a bit more drastically and we see the Lucy who's fighting and won't take anything lying down. With the finality of the divorce less than 24 hours away, Lucy visits Jerry, who's newly engaged to Barbara Vance. And Lucy fights back. Impersonating Jerry's sister, Lucy shows up as Lola at his fiancée's house, dressed like Dixie Belle Lee the singer from the restaurant who's dress goes flying up "with the wind." She proceeds to make several embarrassing remarks and then does Dixie Belle Lee's number of "My Dreams Are Gone With the Wind" much to the horror of the Vance family. But one of the moments that stand out here is Jerry's face as Lucy's dancing this horrible number, he's completely amused, beyond that even. And it goes to show that just like it took Jerry acting screwy for Lucy to see that she's still in love with Jerry, Lucy has to get all screwy herself in order for Jerry to remember why he fell in love with her to begin with. This simple notion is classic of the genre. The two leads fall in love because things are screwy. For Jerry and Lucy, that spark had left their marriage and they'd forgotten. They needed a reminder, and what better way to get the one you love than by acting like an utter fool.

Even still, it's interesting the manner in which Jerry and Lucy realize they still love each other. There's pretty much equal balance here, in which Jerry and Lucy both have their share of acting as the screwball hero/heroine. This has to be because if both acted zany then it'd probably be too much. It's almost like thinking about Grant and Carole Lombard both in a screwball comedy; I think it'd be too much, although I'd be really interested in that film if it existed. So both Jerry and Lucy take turns as acting as the adult while the other acts the fool in love. But the best part is that Lucy has the last word, as she often does with Jerry. When she goes after Jerry, she actually gets him back, acting drunk and cornering him in the cabin.

The ending of the film isn't as great as I thought it would be, but mostly because Lucy is laughing at the end and as I've mentioned, I wish I was laughing with her. I think part of the problem is how quiet the scene is and how serious it gets. Jerry realizes that he's mad for Lucy as well and he's almost trying to make a point to get Lucy to realize she was at fault in their marriage, but Lucy goes into one of her dizzying speeches, in which "things were only the way you think they were" and you try to figure out what's what. But the great thing about Lucy is that she's so self-assured in this scene, so matter-of-fact. Jerry is so obviously confused and Lucy smiles and wishes him good night. All the way to the end of the scene, Lucy's leading and in effect, Jerry follows her, straight back into the relationship.

Part of the reason The Awful Truth is such a great film of the genre is the way in which tells a new type of romantic comedy. The film takes two people already married and throws a divorce at them to show how much they're crazy for one another. But then, there's also the fact of how they do fall in love. The simple fact that both have to take on the crazy fool role at different times in order to win the other's heart is well within the rules of how people fall in love in a screwball comedy. While it's usually one person trying to show the other through screwy antics that they're meant to be together, the two leads in The Awful Truth both take turns at being a screwball hero/heroine. And along the way, we have great fun watching.

And now for the screwball comedy king ...

Just as Carole Lombard is the designated screwball comedy queen, the king of screwball comedy would have to be Cary Grant. No other can beat him at being that screwy hero with such terrific comedic timing, gestures, and delivery of dialogue. The best part of it all is that you enjoy watching him and can tell he's having a great time playing the screwball hero. In The Awful Truth, this is just as true, and to watch him, especially opposite Irene Dunne, is such a treat that you shouldn't pass by.

Grant has a way of delivering lines like no other. It might be his sarcasm, tongue-in-cheek, whatever you want to call it, but no one can quite do it the way he does. Some might come off cynical, or maybe a bit funny, and some are just so awful at it you really wonder how they got cast in the film to begin with. But Grant, he does it with finesse, a sophistication that not all have mastered. From the opening of the film, Jerry's trying to get a self-tan at the Gotham Athletic Club because was he or wasn't he in Florida? He didn't want to embarrass Lucy for not having a tan--never actually saying if he was in Florida--and "what wives don't know won't hurt them." It's completely wrong, but he says it so matter of fact that you just laugh along and he gets away with it.

This is another film, in which the director--in this case Leo McCarey--chose to improvise a great deal. As I've re-watched the film, I wonder how much of the dialogue was improvised. This would certainly explain why Grant does such a great job at delivering his lines, but at the same time it shows how funny he truly was. Lines, like the scene at the restaurant when Jerry, Lucy, and Dan are watching Dixie Belle Lee sing "My Dreams Are Gone With the Wind" and everyone the group is mortified--although Dan looks a bit intrigued--and Jerry turns to Lucy and says, "I just met her." It's not just the line, it's the timing and his facial expressions, especially as he says it to a mildly horrified Lucy, who, after the number, says, "I guess it was easier for her to change her name than her whole family." It's as if one line provokes another to come out and further enhances the hilarity of the scene.

But there are a number of scenes like these, and really it's Grant who brings the film up a notch. Another favorite is when Jerry meets Dan for the first time, which incidentally is the first time Lucy meets Dan. "How can you be happy to know me?" Jerry asks Dan with such a mixture of curiosity and mocking tone. And it's not just in the voice, but in the body movements and his facial expressions. Later when he starts playing the piano for Mr Smith to sing/bark along, Grant has so much fun with it, his laughter is contagious and you wish the duet would continue. And when Lucy throws a newspaper at him to quiet down, he's shocked, while he's on all four with Mr Smith, the two rough-playing, his hair disheveled. Hardly, the image you'd think of a well-to-do gentleman, but there you go, that's the screwball hero as personified by Grant.

It's interesting to note as well that Grant is the first true screwball hero I've seen out of these particular films I've watched (a number of others come to mind but not of the previous five films I watched). The screwball hero in the previous five films has either been completely different, and in one case not much of one. For this film, the screwball hero is as equally screwy as Irene Bullock from My Man Godfrey. There are many instances in which Grant gives a performances of a man with an inner child bursting out to get what he wants, or as I like to think it, just a guy who likes to have fun, even if it is at the expense of others. He perches himself atop the arm of a couch as he looks from his wife to his wife's music teacher. While wearing a suit, he's seen frequently playing on all fours with Mr Smith. He gives a glowing recommendation of his soon-to-be ex-wife with such sarcasm as "she's a pure as the driven snow," while crossing his fingers behind him so she can see it. And of course there's that boyish laugh of his. When he's hiding behind the door and tickles Lucy with a pencil while she's talking with Dan, there's no laughter, but his face reveals such childlike pleasure at getting to Lucy. Grant gives us a screwball hero that is every bit as screwy as other screwball heroines and in turn flipping the roles around as it's usually the female who's the screwy one and the male trying to bring some sanity to the situation.

What else to say about Cary Grant, except that he's so much fun to watch when he does comedy and slapstick, especially. He has a great scene in which Jerry literally crashes Lucy's recital and falls off a chair, bringing more attention to himself than Lucy, who's performing. But overall, Grant shows at the importance of delivering lines with the right tone, at the right time, and with the right body movements and facial gestures. No one else is able to quite perform the screwball hero like him, and that makes The Awful Truth an extra-special bit of fun to watch.

Back from Florida

Like all great screwball comedies and great films alike, The Awful Truth has a great opening that does everything it's supposed: establishes tone, introduces main characters, sets up the premise/creates conflict. But just doing that doesn't necessarily ensure a fantastic opening. What sets this film apart is Cary Grant and Irene Dunne. These two comedic actors stand on their own well and when together light up the screen in an understated way. In fact, I'm quite certain that with other actors, the film may not have been as memorable, and this opening sequence certainly wouldn't have been as appealing.

The best thing about this opening scene is Grant, who pretty much is in the entire sequence. He has this great way to express himself, and in this particular film, it's funny. He doesn't exaggerate his characterizations too much, he takes it just to the right extreme. You know he's not serious, but he's not melodramatic about it, he's kinda hilarious. You wanna keep watching him. So he embodies the character of Jerry perfectly, because here's a guy who hasn't really been in Florida and doesn't want the wife to know, and he thinks he's gonna outsmart her, but really she outsmarts him. And his reactions to that, the uncertainty, the doubt, it's all over his face. Grant also has a way of delivering his lines with the right comedic timing. His performance just flows well with the story. And it's his performance that adds to the tone of the film.

While dialogue in the film might set the tone right away, I'd say it's more Grant's performance. In the hands of a less capable actor, the same lines just wouldn't be delivered with the kind of screwiness that it deserves. Jerry wants to get a tan before he heads home lest his wife finds out he hasn't really been in Florida. But Grant says his lines in such a matter-of-fact way that adds to the ridiculousness of it all. When Dunne makes her entrance, she is also very matter-of-fact in her performance. The sheer fact that she can remain calm while Grant's Jerry is growing livid at her arrival with her teacher, it showcases a whole new level of comedy. Instead of the female being the screwy one, Dunne's Lucy remains calm and in control, but always a step ahead.

Dunne has a way of giving a laugh that is dead-on funny. It's not so much forced or fake, but it's just right, like it's been practiced and deemed acceptable by all. When Dunne finally makes her entrance, she does so in such an innocent way almost, as if oblivious to what's going on. And again, she doesn't overact too much, but just enough to show that her character is acting as well. She plays dumb, and you know she's not, especially when all the supporting characters exit the scene and the true claws come out.

Now, what's great about the premise is that while so many screwball comedies are about opposite people meeting and somehow ending up together, in this film, the couple is already together, but apparently the marriage's gone south. Neither one of them is involved. They both leave home, thinking the other is anxiously waiting for the other to return, when really they're both so involved in their own escapades. So many films of the genre are about becoming a couple, but in this one the couple is together but the spark is gone. So a divorce is ordered. And you can tell neither thinks it'll go through, but they're both so proud that Jerry encourages Lucy to call a lawyer, and she does so, reminding him she'll have to call his lawyer since he's the only one she knows. And then there's poor Mr Smith looking back and forth at his parents as they fight, kinda like a kid might in a similar scenario. It's a good setup for what happens in the following sequence.

Another thing I liked about the scene that I felt cemented the tone of it was the inclusion of Jerry's friends. They almost acted like a Chorus--they were our voice and ears to the whole scenario. They caught on quick enough as to what was really going on before either Lucy or Jerry, and all the while they sat back smugly looking on. But this also works well because normally that's how it is in all relationships. All outsiders know what's really going on in a relationship of others when the actual couple is so clueless to it because they have no perspective. I liked it, and although we don't really see the friends again, I liked their inclusion in this scene.

Again, this opening sequence is really different from others, mostly due to the plot and two leads. Having Grant and Dunne as your two leads makes watching The Awful Truth so much more enjoyable than if someone else had been cast in either role. Dunne is just the right love interest for Grant, had someone like Carole Lombard been cast it might have been too screwy, although I admit interesting. Dunne balances out Grant's screwiness but does so in such a funny way. It's entertaining. And then there's the premise, which hasn't really been shown before at this point. It's original and in itself turns the genre inside out, as screwball comedy is always about parodying the coupling of two people. But what if they no longer want to be together? Even though it's obvious to you and me that they still do. You're hooked and you wanna keep watching.

The Awful Truth (1937)

I first watched The Awful Truth a few years ago. It was one of those films that I had heard about but just never sat down to watch it, didn't really strike my interest, but mostly because I had never watched anything with Irene Dunne before. Up to that point, I was surprised at how few screwball comedies I had watched so I sat down and watched it, and I was pleasantly surprised and amused. I loved, I still love The Awful Truth, for Cary Grant--how could I have dismissed one of his films?!--and most of all for Dunne, whom I had never seen on screen before.

This film makes me laugh every time; again, it's not a Preston Sturges kind of funny but the premise is ridiculous fun, plus the performances make it memorable. So many films back then and today go on and on about two people getting together: they clash, sparks fly, they fall in love. It Happened One Night follows that formula. It's an interesting premise because it offers an interesting story. Of course, after a while it gets old when you see the same thing over and over again. The Awful Truth turns it inside out even before Sturges got a chance to--although he took it to perfection--with The Palm Beach Story. Here we have a couple that is already married, but from the beginning of the film they are each doing their own thing, married but not really acting like it. Are they even being faithful to one another? Well, this question is what sets off the story and they proceed to get a divorce. The film follows their hilarious divorce and dog-custody battle, and of course their eventual reunion.

Grant is great as Jerry Warriner; no one is better cast as the screwball hero than Grant. He plays the screwiness to its utmost best while remaining likable all the same, you're perfectly fine with the hilarity of it all. I think a lot of it is in the way he delivers his lines as well as his facial expressions. A great scene is when Jerry, Lucy, and Dan are all sitting at a table at a restaurant, and Dixie Belle Lee--Jerry's "date"--gets up to sing a "My Dreams Are Gone With the Wind" and Dixie's dress goes flying up throughout the number. All their shocked and uncomfortable faces are hilarious, and then Jerry turns to them both and says, "I just met her," but he does so with the right comedic timing. What Grant does is that he's able to act like a child, even though he's a grown adult, but he still keep his sexiness and desirability all the same. You still want Jerry to end up with Lucy.

Dunne as Lucy Warriner is divine and an equal match. I often thought that Katharine Hepburn was a great match for him in the films they did together, but Dunne brings it to another level. Dunne has a way of remaining cool, calm, and collected while still being funny. She raises those eyebrows of hers so innocently, or flutters her eyelids, even though she knows what she's up to. And they really are little things she does that make the character, like at the recital scene after Jerry falls off the chair, she finishes her song and her final phrasing but ends it with a perfect laugh on pitch. It's great! Makes you laugh along even more. I think Dunne's portrayal actually adds to Lucy in that she seems to always be in control. Dunne never takes Lucy to screwiness extremes, except maybe with her Lola impersonation, but even then she was in control because she was trying to get Jerry back. With Lucy, Dunne shows that she can play the sophisticated girl that Jerry wants, but with a twist that keeps things interesting.

I have to say, I also love Asta. Was he Skippy still then? The great thing about this divorce is that instead of having the couple fight over a child, which could've turned out weird, especially considering how child custody battles do turn out, the divorce boils down to the custody of Mr Smith. The lovable and talented Mr Smith. It's great that he's used in the film in a way that allows both Jerry and Lucy to act bonkers. Jerry demands visitation rights and then shows up while Lucy entertains Dan. So Jerry decides to do a duet with Mr Smith, a great scene. I think Mr Smith is just a lot of fun in this film and it seems like everyone liked him as well.

There's so much to say about the film--Ralph Bellamy, Cecil Cunningham--but the one thing that always kind of throws me off is the ending. It just slows down completely and it's so quiet. I want it to be loud and funnier, I guess. Or maybe just more teasing, more subtext. I'm not sure what it is, but I think it's that I want to laugh along with Dunne in the end, and I never quite do. Eventually, though, with the cuckoo clock chiming again, I do laugh and the film ends. But this is minor really compared to the entire film.

The Awful Truth is always a pleasure to watch because I have so much fun doing so. Leo McCarey does a fine job of directing his actors and working with the script in order to get the best performances in each scene. And considering there's a dog too, it doesn't seem like it was as easy a shoot as it could've been. With wonderful acting and a different but funny premise, this film is really one of the stand-outs of the genre.