A young man falls in love with a girl from a rich family. His unorthodox plan to go on holiday for the early years of his life is met with skepticism by everyone except for his fiancée's eccentric sister and long-suffering brother.
Before their divorce becomes final, Jerry and Lucy Warriner both do their best to ruin each other's plans for remarriage, Jerry to haughty socialite Barbara Vance, she to oil-rich bumpkin Daniel Leeson. Among their strategies: Jerry's court-decreed visitation rights with Mr. Smith, their pet fox terrier, and Lucy doing her most flamboyant Dixie Belle Lee impersonation as Jerry's brassy "sister" before his prospective bride's scandalized family. Written by
Paul Penna <email@example.com>
While Cary Grant was initially working with Leo McCarey, he was unaware that McCarey was deliberately creating nervous tension in the actor, in order to enhance his performance. By keeping the cast slightly off balance, the director was building scenes from spontaneous moments between his actors. Giving the barest outlines of a scene, he would have his actors try something on their feet. For instance, in one rehearsal, he told Irene Dunne to simply open the door of her apartment and say, "Well, if it isn't my ex." He told Grant to answer with whatever came into his head. Grant replied, "The judge says this is my day to see the dog." McCarey then built the scene around that moment. The line, and the subsequent scene, stayed in the picture. See more »
Just after Lucy introduces herself as 'Lola' Warriner to the Vance family, she sits down next to Mrs. Vance, her handkerchief and purse quickly passed from her left hand to her right hand. As the camera shifts towards Jerry, Lucy bends over, making a quiet exclamation ("Oh" or "Uh"), and appears to grab at something she has dropped on the floor. After the camera cuts back to Lucy, she is sitting up straight, her handkerchief in her left hand and caught underneath her left side. See more »
The funniest comedy ever made. An older friend introduced me to "The Awful Truth" in the days before VCRs. I thought it so hilarious, I taped the dialogue on a tape recorder when it was shown on local channels.
Of course, the most famous scene is the one in which Irene Dunne, still in love with husband Grant, appears at his society girl's family's estate. She pretends they are from a class these snobs would not accept. It is Dunne's finest ten minutes -- hilarious and it never grows old.
But the whole movie is funny. Cary Grant and his "continental mind." Grant thinking he is bursting in on a love nest, only to find himself in the middle of a sedate vocal recital. And Dunne, singing a Tosti song, watches him lovingly as he stumbles and executes pratfalls, ending her son with a laugh rather than the words of her song! Asta, even, is put to better use than he was in the delightful "Thin man" series. Here is their dog Mr. Smith.
Esther Dale never had a better role than as Ralph Bellamy's prudish and prurient mother. And Bellamy, as he played the wrong man so often in romantic comedies, is easy to take for granted. But he is delightful too.
Joyce Compton, in endless movies for a couple decades, is an absolute scream as Dixie Belle, the risqué nightclub performer with whom Grant takes up at around the time Dunne has taken up with deadly dull Bellamy.
Not only is this sequence funny but it is also touching: Don't we all, on the rebound, make choices that seem right but turn out catastrophic! I also like "Twentieth Century" and Bringing Up Baby." I do not like the smug "My Favorite Wife," also with Dunne and Grant" or the mean "Nothing Sacred." When it comes to screwball comedy, this is the one! It surely is one of the greatest of all American movies.
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