Together Again – directed by Charles Vidor. Romantic Comedy. The square mayor of a small town falls apart over the sculptor she hires to make a statue of her former husband. 93 minutes. Black and White. 1944.
Irene Dunne is 46 when she makes this, and Charles Boyer is 45. Those were the days! They had grown-ups in movies.
The title is a publicity scheme to announce the re-mating of the stars of the big women’s weeper Love Story. However, there is a curious lack of oomph between them here. Boyer looks middle-aged, but he is an actor who can rise to any occasion, and he is more acceptable than Dunne, who looks great but lacks the inner-madcap for the role. Charles Coburn is far sexier as the stout cupid leading them on. But then Coburn was one of the great film actors, a performer of admirable technical certainty, natural appeal, and lots of juice.
To play comedy you don’t have to do funny things – Betty Hutton had this. You don’t have to be inherently funny either – Rosalind Russell had this. Although both things are nice, what you have got to have is the inner permission for things to be funny around you – Claudette Colbert had this; so does Clint Eastwood. And Irene Dunne does not. Cary Grant said she was delightfully funny on the set, but on film she seems to be a prig who would really rather be a lady than a woman, a feature we see in Greer Garson and Deborah Kerr.
Irene Dunne (who added an “e” to her last name, perhaps as touch of antique Royalty) was a performer whom the studios thought added “tone” to a picture. But “tone” is at variance with Dunne’s role, which is that of a high profile politician longing to cut up. What you get instead is Helen Hokenson, so there is no possible way an actor opposite her could play sexual attraction in her direction.
She does sing a bit, and Dunne was a true singer and is best when singing, because most honest and simple, for she does care about music, and music is never respectable. Her “Smoke Gets In Your Eyes” in Roberta is just lovely. See her in Anna And The King Of Siam. Or see her in George Stevens’ I Remember Mama or his Penny Serenade. In a certain kind of role, she is a seriously dedicated actress and very worthwhile.
The film is beautifully mounted and well constructed, and simply and clearly directed. If you like the old studio, A-movie production values, there is much to enjoy here, for they, more in black and white movies than in color movies, tell the story as much as the script tells it.
Why is that?
Because black and white engages one’s narrative imagination and color supplants it.