Divorce is a common topic in entertainment of recent years. Of course, the problems that can befall relationships when romance goes wrong have been popular dramatic subject matter since the earliest days of stage performance and literature. However, since divorce has become increasingly common and accepted in modern culture, its introduction to plots and character backgrounds has become very casual.
During the Golden Era of Hollywood, many storylines centered around a failing or failed marriage. These films are very different from modern movies about divorce, however. We know that the lead couple is meant to be together, even if the spouses are dealing with mistrust, serious disagreements, and romantic interest in other people. While many movies of this kind are playful romantic comedies, they present truthful examples of how marriages must survive constant challenges.
Two classic romantic comedies about divorce are “The Awful Truth,” an acclaimed 1937 film directed by Leo McCarey, and “Let’s Do It Again,” its 1953 musical remake. Both show the importance of trust, honesty, and persistence in marriage.
Stories and Directors
The premise of both films is the same. A husband tells his wife that he’s going out of town for a brief holiday, but he’s actually enjoying some time away from her in town. When he arrives home one morning, somewhat unexpectedly, he is surprised to see his wife come in with another man still dressed in evening wear. She doesn’t act guilty, explaining how car trouble prevented their return last night, but the husband is clearly suspicious. She soon discovers that he wasn’t out of town after all, and their mutual suspicion leads them to begin divorce proceedings.Musical Differences
Although “The Awful Truth” is not a musical, it features a couple of musical numbers. Irene Dunne was a classically trained soprano with a beautiful voice, which she shows off by singing the Italian aria “La Serenata” at a parlor concert. After divorce proceedings have begun, Jerry is keeping company with nightclub performer Dixie Belle Lee (Joyce Compton). She performs a routine called “My Dreams Are Gone With the Wind” (a reference to Margaret Mitchell’s famous novel, which would soon be made into a film), during which her skirt is blown up several times with a wind effect.Later in the film, Lucy tries to humiliate her ex-husband in front of his refined fiancée (Molly Lamont) and her family by pretending to be his uncouth sister. During this act, she says that she’s a nightclub singer and performs a hilarious spoof on the “Gone With the Wind” number.
“Let’s Do It Again” is a musical featuring six original songs by Lester Lee and Ned Washington. To work the numbers into the story naturally, Connie was written as a Broadway star and Gary is a hit songwriter. Casting Jane Wyman in the part was a natural, since she was a talented musical performer as well as a strong dramatic actress and adept comedienne. Ray Milland does a great job of balancing the humor in the role with the serious elements.
This comedy is very different from the stars’ earlier pairing in “The Lost Weekend” (1945), the Billy Wilder drama that won them both great acclaim. Valerie Bettis plays Lilly Adair, the equivalent of the Dixie Belle Lee character, again a nightclub performer. At the beginning of the film, Gary lies about going out of town so that he can go on a jazz binge, playing jam sessions at little spots just for fun. In one scene, Lilly performs a number titled “The Call of the Wild,” which Connie later parodies at a swanky party in the guise of being Gary’s archeologist sister.
In “The Awful Truth,” the spouses fight over who will gain custody of their beloved dog Mr. Smith. Lucy is granted custody, but Jerry demands visitation rights. These visits to see the dog keep Jerry and Lucy seeing each other.
In “Let’s Do It Again,” there is no dog; instead, the item in question is a piano. Gary had a customized piano specially built to his compositional needs, and it’s located in their Manhattan apartment. Getting a piano out of a high-rise apartment building is no easy feat, but Gary insists he can’t compose without it. As they try a series of elaborate means to extract the piano from the apartment, Connie must allow Gary access so that he can compose. When he realizes that he doesn’t want to lose her, he begins purposely delaying the removal of the piano so that he’ll have an excuse to keep haunting the apartment.
Temperament and Brilliance
Different directors have their own idiosyncrasies when it comes to coaching their performers. While some allow freedom for personal interpretation of the dialogue, others demand strict adherence to the script. Leo McCarey gave his actors room for personal expression, not only allowing but insisting on ad-libbing from his cast.This was stressful for the actors, since they got the idea that he was making up the movie as they went along. Cary Grant was particularly frustrated by McCarey’s methods. He didn’t like the ad-libbing, rapid memorization required, and lack of a completed script. However, as the production continued, everyone realized that McCarey’s unconventional process was brilliant. No one could argue with success. “The Awful Truth” became a big hit, solidifying McCarey’s reputation as a first-rate director.
“Let’s Do It Again” is less well-known. I’m sure that those who love the screwball comedy genius of the original will feel that no one can measure up to the timing and naturalness of the cast in the 1937 film. I don’t think it’s meant to. It’s a very different take on the story, and each is enjoyable in its own way. I recommend them both.
