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Consolation Marriage (1931)

Passed  -  Drama  -  21 November 1931 (USA)
6.1
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Ratings: 6.1/10 from 213 users  
Reviews: 10 user | 1 critic

In prohibition-era Manhattan, shopkeeper Mary Brown loses Aubrey, her childhood sweetheart, when he marries a rich woman. Reporter Steve "Rollo" Porter has lost -his- childhood sweetheart, ... See full summary »

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Title: Consolation Marriage (1931)

Consolation Marriage (1931) on IMDb 6.1/10

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Cast

Complete credited cast:
...
Mary Brown Porter
...
Steve Porter
...
Jeff Hunter
...
Elaine Brandon
Lester Vail ...
Aubrey
Matt Moore ...
The Colonel
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Storyline

In prohibition-era Manhattan, shopkeeper Mary Brown loses Aubrey, her childhood sweetheart, when he marries a rich woman. Reporter Steve "Rollo" Porter has lost -his- childhood sweetheart, Elaine, who has also married another. Mary and Steve become friends, and make a marriage of convenience, based on a shared sense of whimsical humor as well as their mutual losses. When their old loves re-enter their lives a few years later, Mary and Steve must decide what is really important to them. Written by Molly Malloy

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Passed | See all certifications »
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Details

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Release Date:

21 November 1931 (USA)  »

Also Known As:

Consolation Marriage  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(RCA Photophone System)

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

In August of 1931 entertainment columns reported that Robert Williams had been injured in fall, requiring the recasting of his role in the film; Matt Moore took his place. See more »

Connections

References Millie (1931) See more »

Soundtracks

Waltz #15 in A flat major: 'Lullaby', Op.39
(1865) (uncredited)
Music by Johannes Brahms
Played during opening credits and at fadeout
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User Reviews

 
Sparkling dialogue in a story that creaks with age, as it should.
4 June 2004 | by (Shediac River, New Brunswick) – See all my reviews

Although the first ten minutes of the film are a trial, relishing as it does the cacophony of early films, the sheer bravado of Pat O'Brien and the iridescent charm of Irene Dunne soon make up for the horror of Myrna Loy, as stiff and plastic as her hairdo, and John Halliday, as a weak, chinless cretin musician. Once these two are left behind, the screenplay transcends its material and the dialogue and wit are as illuminating as the key lighting. The interaction between Dunne and O'Brien is what people mean when they say: "They don't make movies like this anymore." The two simply become more than the sum of their parts.

Discussing the ending would be akin to drowning a kitten. Suffice it to say that this is soap opera at its best and once the two weak sisters re-appear and disappear, we are left with an ending that allows us to feel morally uplifted. The material is dated but the inter-action between these two beginning stars of yesteryear makes up for any weaknesses. To fault the film for its age is simply ridiculous and makes such critics even less aware of just how good Hollywood films once were -- crowsfeet and all.


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