IMDb > My Favorite Wife (1940)
My Favorite Wife
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My Favorite Wife (1940) More at IMDbPro »

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Overview

User Rating:
7.4/10   7,311 votes »
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Popularity: ?
Up 15% in popularity this week. See why on IMDbPro.
Director:
Writers:
Bella Spewack (original story) &
Sam Spewack (original story) ...
(more)
Contact:
View company contact information for My Favorite Wife on IMDbPro.
Release Date:
17 May 1940 (USA) See more »
Genre:
Tagline:
The funniest, fastest honeymoon ever screened!
Plot:
Missing for seven years and presumed dead, a woman returns home on the day of her husband's second marriage. Full summary » | Add synopsis »
Awards:
Nominated for 3 Oscars. See more »
NewsDesk:
Director Robert Wise Dies at 91
 (From IMDb News. 15 September 2005)

User Reviews:
Tremendous fun, if not the sharpest screwball specimen. See more (74 total) »

Cast

  (in credits order) (verified as complete)

Irene Dunne ... Ellen Wagstaff Arden

Cary Grant ... Nick Arden

Randolph Scott ... Stephen Burkett

Gail Patrick ... Bianca Bates

Ann Shoemaker ... Ma - Nick's Mother

Scotty Beckett ... Tim - the Ardens' Son
Mary Lou Harrington ... Chinch - the Ardens' Daughter
Donald MacBride ... Hotel Clerk

Hugh O'Connell ... Johnson - Insurance Adjuster

Granville Bates ... Judge Bryson

Pedro de Cordoba ... Dr. Kohlmar
rest of cast listed alphabetically:

Jean Acker ... Postponed Case Witness (uncredited)

Murray Alper ... Yosemite Bartender (uncredited)
Leon Belasco ... Waiter - Pacific Club Poolside (uncredited)
Joe Cabrillas ... Phillip (uncredited)
Bill Cartledge ... Page Boy Paging Burkett (uncredited)

Chester Clute ... Shoe Salesman (uncredited)
Corky ... Corky the Dog (uncredited)

Franco Corsaro ... Waiter Bringing Wine (uncredited)
Florence Dudley ... Postponed Case Witness (uncredited)
Hal Gerard ... Assistant Court Clerk (uncredited)
Roque Guinart ... Waiter (uncredited)

Earle Hodgins ... Court Clerk Beside Judge Bryson (uncredited)

Edna Holland ... Johnny Weissmuller Inquirer (uncredited)
Thelma Joel ... Miss Rosenthal - Nick's Legal Secretary (uncredited)

Cy Kendall ... Police Detective Arresting Nick (uncredited)
Ellen Lowe ... Weissmuller Inquirer's Companion (uncredited)
Margaret Martin ... Minor Role (uncredited)

Horace McMahon ... Truck Driver Giving Lift to Ellen (uncredited)
Sue Moore ... Maid Drying Ellen's Clothes (uncredited)

Bert Moorhouse ... Postponed Case Lawyer (uncredited)
Clive Morgan ... Postponed Case Lawyer (uncredited)
George Noisom ... Page Boy Bringing Steve's Robe (uncredited)
Bob Reeves ... Policeman Arresting Nick (uncredited)
Ronald R. Rondell ... Bellboy #1 (uncredited)
Matty Roubert ... Page Boy Paging Mr. Arden (uncredited)
Eli Schmudkler ... Janitor (uncredited)
Pat West ... Caretaker at Arden's Mountain Place (uncredited)

Directed by
Garson Kanin 
 
Writing credits
Bella Spewack (original story) &
Sam Spewack (original story) (as Samuel Spewack) and
Leo McCarey (original story)

Bella Spewack (written for the screen by) &
Sam Spewack (written for the screen by) (as Samuel Spewack)

Garson Kanin  uncredited
Alfred Lord Tennyson  poem "Enoch Arden" (uncredited)
John McClain  uncredited

Produced by
Leo McCarey .... producer (uncredited)
 
Original Music by
Roy Webb 
 
Cinematography by
Rudolph Maté (director of photography)
 
Film Editing by
Robert Wise (edited by)
 
Art Direction by
Van Nest Polglase 
 
Set Decoration by
Darrell Silvera (set decorations)
 
Costume Design by
Howard Greer (gowns)
 
Makeup Department
Mel Berns .... makeup artist (uncredited)
 
Second Unit Director or Assistant Director
James H. Anderson .... assistant director
Ruby Rosenberg .... assistant director
 
Art Department
Mark-Lee Kirk .... associate art director
 
Sound Department
John E. Tribby .... recordist
 
Other crew
Bert Granet .... screenplay constructor (uncredited)
 
Crew verified as complete


Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
88 min | Germany:75 min (cut)
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Recording System)
Certification:
Argentina:Atp | Australia:PG | Brazil:Livre | Canada:G (video rating) | Finland:S | France:Tous publics | Spain:T | Sweden:15 | UK:A (original rating) | UK:U (re-rating) (1986) | USA:Approved (PCA #5974) | West Germany:16 (nf)

Did You Know?

Trivia:
Second of three movies that paired Cary Grant and Irene Dunne.See more »
Goofs:
Errors made by characters (possibly deliberate errors by the filmmakers): Nick said he met his second wife, Bianca, on the boat while searching for Ellen, yet Bianca doesn't recognize Ellen when meeting her. The search team likely had pictures of Ellen provided for them including pictures from Nick's home, which Bianca would have seen on the boat and in Nick's home.See more »
Quotes:
[Ellen speaking with her children, whom she hasn't seen since they were babies]
Chinch:Are you a lady or a man?
Ellen Wagstaff Arden aka Eve:Well, I used to be a lady...
Tim:Are ya a sailor?
Chinch:A lady sailor?
Ellen Wagstaff Arden aka Eve:Well...
Tim:My mother was practically a sailor - she went down in a shipwreck.
Chinch:Oh, he's always boasting.
See more »
Movie Connections:
Referenced in Move Over, Darling (1963)See more »
Soundtrack:
The Skaters Waltz (Les patineurs)See more »

FAQ

This FAQ is empty. Add the first question.
34 out of 39 people found the following review useful.
Tremendous fun, if not the sharpest screwball specimen., 26 March 2004
Author: Tom May (joycean_chap@hotmail.com) from United Kingdom

There are some lovely, touching and dryly amusing scenes in this film. Kanin and the scriptwriters manage to form a substantive, if occasionally gossamer light, whole out of the playing of fine leads and canny comic incidents. The basic story may be the oldest of chestnuts, but it is here embellished with some degree of incisiveness. Grant's scene by the pool with Dunne and Scott reaches a fine pitch of hilarity, and who can forget the impressionistic scene of Scott's diving coming into Grant's mind and being presented in miniature on-screen?

That master player of light, witty material, Grant, is of course sublime, and I was surprised by Irene Dunne - who I had never previously seen in a lead film role. She was magnificently feline, as Pauline Kael says; dispensing slinky, fluttering phrases and quips, and making it clear what a laugh the character is having; she seems rather to be getting off on the entangled situation. The speech patterns are drolly created by Dunne; wonderful Southern hamming, or archetypal screwball dame quick-talk... Her warming, gadding-about voice is charms, along with deft facial acting; look at the "Oh Bianca..." scene at the hotel early on, where she sensuously reclines on a settee and gets Grant to pretend he is entering the room and kissing his new wife. Minxish mischief of the most heartwarming kind, aye...!

Remarkable to think that Ms. Dunne was over forty when this was made. She has the bearing of many years younger and conveys an impressive vigour. One takes to her unconventional good looks; her slight awkwardness as a 'star' is amusingly alluded to, under the surface, in her son's dialogue late on; very poignant little moment, that. Like Rosalind Russell and Kate Hepburn, she is no textbook beauty, and it is her characterful playing conveys a winking, winning attractiveness. Why is it that we have so few similarly idiosyncratic actresses around today? All - or rather much - has to be homogenised; pop star product looks are apparently required, and conveyor-belted into mainstream films. Film is missing the enticing depths of real-life when it opts for the conformist teenage boy's supposed 'dream woman' - mass-media-fostered - over a greater variety of people and appearances, as one encounters in actual reality.

The actor playing the world-weary, rather Robb Wilton-esquire magistrate ought to have been involved more than he was; an enjoyable turn, that would have been effectively woven deeper into the narrative. Randolph Scott amused slightly too, in his support role; a worthy foil. Things did perhaps get rather sentimental with the involvement of the couple's children, although this is hardly the worst such offender in Hollywood history. The insidious wryness seems completely blunted by the end, when the couple are finally reconciled. One may be charmed by the actors' performances, but it all starts to seem a bit indulgent, and the feeling grows that chances were missed.

But really, one must be indulgent, critically; there is priceless stuff in this film's fibre, and while it fires not on all screwball-comedy cylinders, it is a very pleasant feature with glorious screen presences making (deceptively) light of life.

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