A young man in love with a girl from a rich family finds his unorthodox plan to go on holiday for the early years of his life met with skepticism by everyone except for his fiancée's eccentric sister and long-suffering brother.
A simple, small town man inherits a massive fortune, making him the target for scammers and publicity-seekers. Overwhelmed by the turn his life has taken, and awoken to another use for his new-found fortune, he makes a momentous decision.
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 <firstname.lastname@example.org>
Ralph Bellamy got a good taste of Leo McCarey's working style very early on. He was simply told to show up on the set the following Monday for filming, with no script, no dialogue, or even a hint about his upcoming scene. So he went to see the director, but received no help at all from the perpetually upbeat McCarey. "He just joshed and said not to worry, we'd have lots of fun but there wasn't any script," Bellamy wrote years later. The actor showed up on set for the first day of production to find Irene Dunne at a piano. (McCarey almost always kept a piano on his sets, and he would often sit playing while he thought up a new scene or piece of business he wanted his actors to try.) Dunne was pecking away at the melody to "Home on the Range," and McCarey asked Bellamy if he could sing. "Can't get from one note to the other," the actor replied. "Great!" McCarey said and ordered the cameras to roll while Dunne played and Bellamy sang for all he was worth. When they finished the song, they heard no "Cut." Looking over, they found McCarey by the camera, doubled over with laughter. Finally he said, "Print it!" The scene ended up in the finished picture. That was the way McCarey worked, and Bellamy had to get used to it quickly. See more »
When Lucy has her chin on her hand, the position of her hand changes. See more »
'The Awful Truth' just came out on DVD and what a treat! I'd never seen it before. It's sort of a first draft of 'My Favorite Wife' (remade as 'Move Over Darling') and has all the patented screwball-romantic comedy-French farce elements of the 'Palm Beach Story' but in a less sophisticated form. Even though 'The Awful Truth' may have established a formula for all subsequent screwball comedies, let's face it, it's still rude and crude around the edges. But it probably was the 'There's something about Mary' of its time and Leo McCarey apparently got an Oscar for Best Director. Its gags and dialogue are at times so unexpected as to be termed "experimental". The movie is really all about the sexual tension between Cary Grant and Irene Dunne, married partners who wilfully dissolve their marriage over the husband's possible infidelity (barely alluded to) and his lack of confidence in his wife's virtue (a.k.a. jealousy). But this being 1937, sexuality has to be expressed in devious, contrived ways, including the occasional gratuitous slapstick. The Swiss clock ending is worth the price of admission in this respect. As is Cary Grant's date's obscene nightclub performance and his martial arts irruption into a society afternoon recital where his wife (Dunne) is singing an Italian aria that none of Grant's pratfalls can interrupt, except for one, memorable, epoch-making, anthology-ready second and a half towards the end that no other (singing) actress could have pulled off. What one has to remember, I guess, is that none of this nonsense had ever been attempted, seen or done on a screen before and it must have seemed terribly daring and innovative, thanks to the complicity and high spirits of a perfect cast, including Gee-shucks cowboy Ralph Bellamy, irrepressible faux-French charmer Alexander D'Arcy and worldly aunt Patsy (Cecil Cunningham). Irene Dunne, as usual, is a total original, and, by the way, Katharine Hepburn copied her comedy style and not the other way around (check your dates, guys).
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