Cary Grant and Irene Dunne Engagingly Discover The Awful Truth

              Possibly the foremost example to represent the 1930’s Screwball Comedy genre, The Awful Truth maintains a lively, amusing pace and puts forth a slew of inventive ideas with so much style and wit the film stands as one of the most vivacious and hilarious romantic comedies ever produced in Hollywood, nearly nine decades after its initial 1937 release. Premier director Leo McCarey, reaching his peak after starting in films in 1921 and helming such classics as Duck Soup and The Ruggles of Red Gap, helms Viña Delmar’s sterling screenplay (adapted from Arthur Richman’s 1922 play of the same name) concerning the impending breakup of Lucy and Jerry Warriner, an affluent, ultra-charming couple, with great zeal and an air of unconstrained merriment. McCarey also guides his gifted star duo of Irene Dunne and Cary Grant to career-defining performances, which help enable Truth to hold its status as one of Tinseltown’s signature comedies.

                Although their first screen outing, Grant and Dunne find an easy, simpatico rhythm while interacting with great comedic flair, allowing an audience to believe throughout all the movie’s misunderstandings and shenanigans that this charming couple clearly love each other and belong together. There’s a distinct warmth that comes through in their scenes, with Dunne’s Lucy seemingly having the upper hand, while conveying how much she adores her soon-to-be ex. Grant also does a great job illustrating the endearment Jerry holds towards Lucy, even when she’s misbehaving, such as when she poses as Jerry’s lowbrow sister to ruin a gathering at Jerry’s fiancée’s house, and Jerry can’t help but grin as Lucy gets progressively brasher with the guests. They interact in a spontaneous, beguiling manner rarely seen in film, sometimes overlapping dialogue or laughing at the other with such skill it’s hard to determine what’s being improvised or scripted at any given moment. Grant and Dunne’s fruitful pairing would lead to another classic comedy via 1940’s My Favorite Wife, before the captivating, harmonious team shifted gears for their final collaboration, the moving comedy/drama Penny Serenade.

                After early success as Mae West’s most handsome suitor via She Done Him Wrong and I’m No Angel, Grant made his first indelible impression in movies with his rakish and charismatic work in 1936’s Syliva Scarlett, opposite another of his key leading ladies, Katharine Hepburn. A contract with Columbia Studios followed, which led to Grant’s true breakthrough as a major star in 1937, with Truth serving as a perfect follow-up to Grant’s breezy work in the whimsical comedy/fantasy Topper. With Truth, Grant appears fully at home with the debonair-yet-comical screen persona that would make him a favorite until he chose to end his film career in 1966’s Walk, Don’t Run, playing the role of Jerry with a free-spirited, agreeable air and, at times, an all-out physicality (including a terrific pratfall that earns one of the film’s biggest laughs) that draws the audience to his side, regardless of how sincere Jerry’s actions may sometimes be. Grant also deftly adds a serious touch here-and-there amid the madcap events, illustrating with a look, gesture, or tender line reading just how deep his affection for Lucy goes. Grant’s full-bodied performance in Truth brought him his deserved status among Hollywood’s elite, and lead to a remarkable career wherein Grant seldom faltered while lending his distinct flair and talent to a multitude of top-grade movies such as Only Angels Have Wings, Notorious, North by Northwest and Charade.  

                The versatile Irene Dunne established herself as a top name in only her second film outing, 1931’s Best Picture Oscar winner, Cimarron. In the following years Dunne would continue to find favor as the gentile leading lady of various melodramas and musicals, including Back Street, Roberta Magnificent Obsession and Showboat, before turning to comedy with great success with 1936’s Theodora Goes Wild, then Truth. Although competent in dramas and musicals, the gusto and comedic instinct Dunne displays in Truth suggests her talents were in full bloom when trading banter with Grant or simply reacting to his often-perplexed state with knowing bemusement. Dunne comes alive in comedy with a unique style and impishness that remain delightful to watch. For example, the extemporaneous manner in which Dunne frequently adds laughter to her dialogue and reactions is clearly not always scripted, but inventively and convincingly created by Dunne on the spot, helping to lend a fresh, original acting approach to the film. After Truth, Dunne would continue to thrive in a variety of roles, while gaining another top costar via Charles Boyer with their teaming in 1939’s Love Affair. Later career highlights included Anna and the King of Siam, Life with Father and her warm, likeable work in 1948’s I Remember Mama, which brought Dunne her last of five Best Actress Oscar nominations (but alas, no wins), before Dunne turned to television in the 1950’s as her chief mode of performing, while also becoming involved in a various political and humanitarian efforts, including servings as a delegate for the United Nations. After a rich life and career, Dunne would pass on in 1990 at 91.

                As the less-than-urbane suitor who catches Lucy’s fancy, the hulking Ralph Bellamy gains laughs with his “ah shucks” demeanor and lively playing as Dan Leeson, the unpretentious oilman who gets caught up in a love triangle, to the chagrin of Jerry. Starting in films in 1931, Bellamy had built a substantial filmography throughout the decade, but The Awful Truth would serve as his breakthrough and signature role. Bellamy would go on to score again opposite Grant as an earnest, guile suitor in 1940’s His Girl Friday, then continue to amass a strong string of credits until his 1991 death, showing a keen aptitude to pick major projects throughout his career, including a huge 1958 Broadway success playing FDR in Sunrise at Campobello (which brought Bellmay a Best Actor Tony award) and in cinema via The Wolf Man, the film version of Campobello (in 1960), Rosemary’s Baby, Oh God!, Trading Places and his final film, 1990’s smash Pretty Woman.

Among the rest of a great cast, Alexander D’Arcy lends a slick air as Armand Duvalle, whose (innocent?) rendezvous with Lucy at the outset of the film helps unsettle the Warriner marriage, while Joyce Compton scores as the showgirl Jerry briefly takes up with, memorably putting over “My Dreams are Gone with the Wind” with her skirts flying, years before Marilyn Monroe famously set foot on that subway grating, and setting up a memorable reprise of the song by Dunne in one of Truth’s most amusing bits. Cecil Cunningham makes a strong impression as Lucy’s knowing, direct Aunt Patsy, while Esther Dale also is effective as Mrs. Leeson, Dan’s skeptical mother. However, “Skippy,” taking a break from his most famous role as Asta in The Thin Man series, steals the biggest moments as Mr. Smith, the Warriner’s alert and talented Wire Fox Terrier.

           A popular and critical success upon its release in October of 1937, Truth went on to do nicely at the Oscars, with a Best Director win for McCarey and nominations for Best Picture, Actress (Dunne), Supporting Actor (Bellamy), Screenplay and Film Editing. However, as unfortunately turned out to be a norm throughout his career, Grant’s stellar work was overlooked for awards attention, with his daring, highly originally playing being deemed “too easy” to merit mention (Grant was only nominated twice, for his dramatic playing in Serenade and 1944’s None but the Lonely Heart). The enduring entertainment value of Truth and the stellar work of McCarey and his exemplary cast have led to the film’s induction in 1996 into the National Film Registry, then later placements on the American Film Institute’s lists of the 100 top comedies and romances, respectively. Those seeking a top entertainment of the rom-com and classic movie ilk will find plenty to revere while viewing the wealth of antics and sublime Grant-Dunne chemistry found in The Awful Truth.