And this is how "A Girl AKA Named CineM'Ava" ( as opposed to "A Girl Named Tamiko" ) responded to Marco over on the SSO's FaceBook page. ( Oh and speaking of Ava, I'll get to her later... )Finally saw this war-time romance, and was surprised at what -- to me -- didn't seem to work. Tracy seemed kind of cold about Dunne. The lines were there, but I didn't believe him. She didn't have the sparkle that she shares with Cary Grant, and he didn't have the warmth that one feels when he's near Kate. What gives? Then we meet Van Johnson, who was all charisma; but seemed so much younger than Irene. A young pup with the sophisticated lady. Since I knew nothing about the story, I kept expecting her to end up with Ward Bond; as their relationship seem to have warmth and hold promise. For the first time, Bond seemed to have potential as a romantic lead. I was befuddled.
Much of the dialogue was great though. Some good writing in there. And Fleming's direction was interesting. I loved the scene where Irene is packing her bags with her back to Ward Bond. They carry on a conversation with her facing en face to the camera, while we can see Bond -who is off camera - in the mirror. Nicely done!
Was glad to have another example of the visual metaphor of the characters walking out of the yawning doorway to their new "life" (see also Audrey Hepburn's last scene in "The Nun's Story" and John Wayne's finale in "The Searchers"). Now we see Tracy and a young Barry Nelson heading out of heaven to their next assignment."
I totally bought Tracy and Dunne in "A Guy Named Joe." I never bought Tracy with Hedy Lamarr. But I thought Dunne made Tracy seem sexy. I LOVED seeing the mature couple in love. Seeing Van dance with Esther Williams ( who is an absolute totally rockin' 1940's dream girl ) normally, I'd say those two gorgeous twenty-something kids belong together in the way Hollywood dictates love should go in the movies. But I believed Van with Dunne. In fact, they could have kissed just a little bit more, for my tastes, but I could see the censors kind of holding them back.
Tracy and Dunne were believable to me. When he asked her to sing again “I’ll Get By” I loved the way he looked at her. I believed him. Here is square-framed, meat and potatoes 1940’s Tracy; a reminder of the brash curmudgeonly braggadocious Tracy of the 30’s. Still trying to hide how he feels by being non-verbal with the girl he loves. I felt that I could see them do two or three more films together. Dunne did not have that twinkle in her eye, you say? Listen, I imagine when a gal is working opposite Cary Grant, those twinkles are involuntary. That “twinkle” was replaced by mutual respect. I loved their dancing together, and their banter. And “Pete” loving that “Durinda” could hold her own in the air...and in their relationship...and maybe she had to prove how MUCH she loved HIM before he relented to doing WHATEVER SHE wanted. ( Win-win for both. )
I loved the fact that Pete wasn’t a good kindly altruistic angel. He didn’t want Durinda sitting under the apple tree with anybody else but him. ( “Apple tree” a euphemism for...you know. ) Van Johnson too young? Not in this day and age of lions and tigers and ‘cougars’...oh my. But back then, yeah, probably...but I still think that worked. And women have to mother and baby most of you men anyway. ( I believed them a heckuva lot more than I believed “Cass Timberlane.” )
SIDEBAR #1: My western gals over on the actual SSO site probably would probably be bowled over with disbelief when I say this, but I always want to jump Ward Bond’s bones. He’s a big gruff teddy bear. Yummy!
SIDEBAR #2: I loved Tracy with Barrymore. Tracy very much looked like the student opposite the Master Actor.
I’m sure Moira has the 4-1-1 on whether Spencer Tracy and Irene Dunne got along swell on set or not. ( How ‘bout the scoop, Moira? ) I’d like to hear it.
But what care I.
I believed what I felt on camera.
)) Here we go.
