Second Honeymoon

"Second Honeymoon" is a somewhat different comedy romance, and I agree with others who call this one fluff. One thing I noted in Tyrone Power is that he seems a little more at ease in a comedy film. He actually has some smiles and faces others than frowns or chagrins that he had in his first comedies. Still, it's obvious that Power is not a natural for comedies. He clearly has to be in a straight-man role, off of which the leading actress can work the best comedy.

Loretta Young was one actress who could work the comedy beautifully with Power. Their earlier two comedy romance films in 1937 were superb with wonderful comedy - "Love is News" and "Café Metropole." But this one doesn't have near the comedy, probably due mostly to the different plot that doesn't have a very good screenplay. The leads alone would not have made much of this film, but a supporting cast with some good performances and situational humor lifts the picture enough to earn it six stars. Those good supporting performances are Stuart Erwin as Leo MacTavish, Marjorie Weaver as Joy, Claire Trevor as Marcia, J. Edward Bromberg as Herbie, Lyle Talbot as Bob Benton and Paul Hurst as Dennis Huggins. It's nice to see Weaver and Bromberg, especially, because they didn't have long careers, but were very good actors.

The difference in this film is two formerly married people meeting by chance at the same vacation place, and their romance rekindling, while the remarried woman's husband has business problems. He, Talbot's Bob Benton, starts off having a party and some fun with the first husband of his wife. While the screenplay has holes and poor continuity or connectivity between scenes, the script has a couple of funny situations. One is when a few of the friends decide to go pronging - spear fishing from a boat at night, and they shoot a deck gun into a giant ray. Another is Benton sending a wrapped gift to Power's Raoul McLiesh - a caged racoon, which Raoul names Violet.

The script doesn't have a lot of funny or witty lines. Here are the better ones.

Raoul McLiesh, "Joy, I'm not a married man, and I'm not trying to get fresh, but will you kiss me?" Joy, "Of course."

Joy, "Why did you do that?" Raoul McLiesh, "I Just wanted to see what it was like to kiss an honest woman."

Leo MacTavish, "My experience with dalliance has been nil." Joy, "Dalliance?" Mac, "It means to dally around wantonly."

Raoul McLiesh, "And by the way, just what kind of a belt business is this anyway? Wheels or pants?" Vicky Benton, "Wheels. Automobile wheels. And incidentally, is that ink business of yours so much better than his belt business?" Raoul, "Oh, go to bed."

Raoul McLiesh, "Isn't that just like a woman?" Vicky Benton, "What?" Raoul, "Not satisfied with ridding my life of its happiness, not content with a husband who's a veritable oak of society, you want to eliminate my pitiful pastimes."

This screwball comedy surprised me. I've already seen a few Tyrone Power-Loretta Young films and liked them very much. This one, on the other hand, was far less enjoyable and just a bit shrill--with lots of actors shouting their lines--even the usually demure Miss Young. All too often, the film seemed to try a bit too hard and ended up being a very loud and far from subtle film.

Power and Young play a couple who have divorced each other and now Young is married to dull old Lyle Talbot. When Power comes on to the scene, he claims it's all an accident and he has no intentions towards his -ex, but it's obvious to almost everyone (except poor Lyle) that Tyrone wants his wife back. In many ways, the film reminds me of several of Cary Grant's films such as THE AWFUL TRUTH and MY FAVORITE WIFE, as well as the Colbert-McCrea film, PALM BEACH STORY--though all of these films are made better. The bottom line is that there have been many similar movies that were simply written better--with better dialog and far less yelling. As a result, this is a thoroughly mediocre film and not among the stars' best.

By the way, look for Lon Chaney, Jr. in a tiny part as a reported towards the end of the film. Look fast or you'll miss him in one of his earlier roles.

Although she did not receive top billing, Marjorie Weaver is the superstar of this movie. Near the beginning of the movie, a group of people are at a fancy nightclub in Miami, (Remember, this is before the collapse of most big cities.) They are a little annoyed because Tyrone Power is running late, he does show up, and with him is his new date, Marjorie Weaver!

All the other women at the table are dressed in fancy evening gowns, Marjorie however has on a simple, but nice dress. Introductions are made and it becomes clear than Marjorie is NOT in their class. Marjorie only has a high school education and speaks with an adorable Kentucky accent. (She was actually born in Kentucky and that's how she really talks.) What's unique about her in this setting is not only is she much prettier than the "big" stars, but her homespun, unpretentious, honest attitude makes all of the men desirous of her, and the women turn green with jealousy.

Marjorie, (Joy) openly admits that she thought that she would never get to go to "such a nice place" and see so many nice people. Not too different from the real Marjorie Weaver. Tyrone drives Marjorie home, during the drive Tyrone stops the car and says "I'm not married, and I'm not getting fresh, but may I kiss you?" Marjorie replies enthusiastically, Yes! After the kiss she asked why did you want to kiss me? Tyrone replies "I just wanted to kiss ONE honest woman."

The rest of the movie is entertaining as well. I just wanted to describe my favorite scene. One of my favorite movies with Marjorie Weaver is "I'll give a million".

"Second Honeymoon" is a fluffy comedy which probably had its genesis in "Private Lives." It concerns a beautiful divorcée (Loretta Young) who, upon marrying her second husband (Lyle Talbot) runs into her first (Tyrone Power). Everyone is rich, magnificently dressed, and does a lot of traveling in the spirit of Hollywood escapism during the Depression.

This movie is talky and doesn't have the energy or enough of the humor of "Cafe Metropole," another early Power-Young film. Even with an 85 minute or thereabouts running time, it felt long.

There are some very good performances. Stuart Erwin plays Power's valet, and he has an interesting characterization. Claire Trevor is delightful in a supporting role, and Marjorie Weaver brings liveliness to the part of Joy.

Young is absolutely fabulous looking and is appropriately jealous and angry when the script calls for it. Power is absurdly handsome, just stunning, and alas, doesn't have too much to do. It's an extremely lightweight role. It's probably just as well. It was difficult to do anything but ogle when he was on screen in this one.