There's something about the screwball comedy that I can't quite connect with. Of my favourite films, there are numerous titles that contain elements of the sub-genre, but there always has to be something in addition to the classic screwball formula for example, add a murder mystery {'The Thin Man (1934)'}, some Capra-corn {'It Happened One Night (1934)'}, some quick-fire Hawksian dialogue {'His Girl Friday (1940)'} or some elements of horror {'Arsenic and Old Lace (1944)'}. However, I tend to find the plain, old screwball comedy quaint and insignificant, even if it can be relied upon to provide some easy laughs on occasion. My second film from director Leo McCarey {after the Marx Brothers' comedy, 'Duck Soup (1933)'} is, unfortunately, another slight disappointment, offering little that I haven't seen before. If it were not for the comic brilliance of a young Cary Grant, I don't know if I would have seen all that much to recommend in this film.
During the 1930s, the Production Code (also known as the Hays Code) prohibited the depiction of adulterous behaviour in American films, and so writers were forced to find a way around the rule. Thus, the "comedy of remarriage" was born. By having the two main characters divorce at the beginning of the film, there is no question of ethics to intrude upon their respective romantic escapades with other parties. Of course, by the end of the story, both husband and wife come to understand that they still love each other, and, in the meantime, neither has done anything that the censors could possibly construe as being immoral. Cary Grant, after achieving enormous success with this film, became a veteran of the "comedy of remarriage," with later examples including 'The Philadelphia Story (1940)' and 'His Girl Friday (1940).' With his mischievous boyish charm and impeccable timing, Grant is a shining beacon of talent in 'The Awful Truth,' and, even though he duplicated this performance in many a subsequent film, it works so well each time that we can only admire his genius.
Though I'm undoubtedly in the minority here {she was nominated for a Best Actress Oscar, after all}, I was not fond of Irene Dunne's acting. When she's playing the straight role, during the first half of the film, she is merely adequate beside Grant's fast-talking larrikin. However, when her character decides to take a more meddling approach to her ex-husband's new romantic relationship, she just comes across as annoying, and the comedy feels rather forced. On the other hand, Ralph Bellamy is quite enjoyable as Dan Leeson, the wealthy and somewhat pathetic oil heir from Oklahoma {curiously enough, Bellamy strongly reminded me of Jeff Daniel's character, Tom Baxter, in Woody Allen's 'The Purple Rose of Cairo (1985)'}. Oh, and also top marks for Asta the wire-haired terrier, who once again proves himself to be one of film's all-time greatest canine performers. All in all, Leo McCarey's 'The Awful Truth' is an important landmark in the history of cinema comedy, even though I personally found it be fairly predictable and uninspired. Just don't think that I've given up on the director yet: 'Make Way for Tomorrow (1937)' looks terrific!
During the 1930s, the Production Code (also known as the Hays Code) prohibited the depiction of adulterous behaviour in American films, and so writers were forced to find a way around the rule. Thus, the "comedy of remarriage" was born. By having the two main characters divorce at the beginning of the film, there is no question of ethics to intrude upon their respective romantic escapades with other parties. Of course, by the end of the story, both husband and wife come to understand that they still love each other, and, in the meantime, neither has done anything that the censors could possibly construe as being immoral. Cary Grant, after achieving enormous success with this film, became a veteran of the "comedy of remarriage," with later examples including 'The Philadelphia Story (1940)' and 'His Girl Friday (1940).' With his mischievous boyish charm and impeccable timing, Grant is a shining beacon of talent in 'The Awful Truth,' and, even though he duplicated this performance in many a subsequent film, it works so well each time that we can only admire his genius.
Though I'm undoubtedly in the minority here {she was nominated for a Best Actress Oscar, after all}, I was not fond of Irene Dunne's acting. When she's playing the straight role, during the first half of the film, she is merely adequate beside Grant's fast-talking larrikin. However, when her character decides to take a more meddling approach to her ex-husband's new romantic relationship, she just comes across as annoying, and the comedy feels rather forced. On the other hand, Ralph Bellamy is quite enjoyable as Dan Leeson, the wealthy and somewhat pathetic oil heir from Oklahoma {curiously enough, Bellamy strongly reminded me of Jeff Daniel's character, Tom Baxter, in Woody Allen's 'The Purple Rose of Cairo (1985)'}. Oh, and also top marks for Asta the wire-haired terrier, who once again proves himself to be one of film's all-time greatest canine performers. All in all, Leo McCarey's 'The Awful Truth' is an important landmark in the history of cinema comedy, even though I personally found it be fairly predictable and uninspired. Just don't think that I've given up on the director yet: 'Make Way for Tomorrow (1937)' looks terrific!