Ann Vickers

It is doubtful if, at this point in time, anyone needs to be reminded of the consistent excellence of the versatile Irene Dunne, whose presence enhanced drama, comedy and musical films for many years. ANN VICKERS recalls to us how effective her subtle talent was even early in her career, playing a character alternately strong and vulnerable in a story too crowded with incident to give its major players the room they require to draw the characters fully. As a capable and resolute professional woman involved in social work and prison reform, Dunne's title character is curiously susceptible to the less-than-worthy men she finds more appealing than the steady earthbound types she encounters but does not favor. This contradictions accounts for a large part of the interest in her character, discreetly but firmly abetted by the nuances of yet another outstanding performance. Irene Dunne is perhaps the most reliable of all leading ladies. If you share the admiration of many for her work, this somewhat obscure picture will not disappoint you.

ANN VICKERS is a bizarre tear-jerker from the early days of sound movies featuring IRENE DUNNE as a woman who is well-intentioned but makes all the wrong choices in life, including the men she thinks she loves.

BRUCE CABOT is her first mistake, a man proclaiming great love for her but abandoning her not long after she bears his child. In a weak supporting role, she treats CONRAD NAGEL as a man she cannot love but values as a friend. He's not too happy about that arrangement.

Then comes married man WALTER HUSTON, unhappily married who finds Dunne a refreshing bit of love interest. She has a career that keeps her busy and stands by him when he is accused of mismanaging funds. He's soon imprisoned but she finds a way to get his case some political attention and eventually he is free to marry her.

That's about it, all handled in dreary fashion with hardly a note of music on the soundtrack to lift it out of the doldrums when it gets too soggy to bear. As social commentary on conditions in the 1930s and women's issues, it's a failure. Miss Dunne plays a social worker who rises to play an important role in the penal system for females.

IRENE DUNNE suffers nobly, but it's a weak vehicle for a strong actress and she can do nothing to give the film a sense of real life struggles. Chalk this one up as a failure, even if it was based on a novel penned by no less than Sinclair Lewis. Evidently, not too much has been retained from his novel.

Summing up: Not worth your time. Any film that wastes the talents of EDNA MAY OLIVER as a Duchess has got to make you wonder what they were thinking. It's her dullest role ever.

Only three years into her Hollywood career (after the initial misstep of "Leathernecking" (1930), Irene Dunne shines in this pre-Code drama. Her portrayal of Sinclair Lewis' "Ann Vickers" is complex, layered and multi-faceted. She is a modern woman and she is determined to change the world as Edna Mae Oliver's character states "if it takes her all winter". But the world almost breaks her. She is impregnated and then emotionally abandoned by Bruce Cabot's cad "Lafe", sent to work in a Purgatory of a women's prison, and finally saved by the love of Walter Huston's Judge Barney Dolphin. In him, she has met her equal--morally, intellectually, and emotionally. Their love is here to stay, as we see when she not only proudly bears their son out of wedlock but stands by him when he is sent to prison on political corruption and graft charges trumped up by his opposition. She too suffers in that she loses a top-tier professional post and must makes ends meet by writing freelance newspaper articles. However, she is undaunted and toughs it out until such time that Barney is paroled and reunited with her and their young son. It is so refreshing to see Dunne in this early role, so far removed from both the screwball comedy and perfect wife and mother roles she would play in the middle and latter phases of her long career. We mourn with her the loss of her first child, the death of whom is ambiguously depicted as coming about by abortion. We rejoice in her finding her soulmate, Barney and cheer them for their unaffected love and affection and the joy they express over their impending parenthood. While this is a "weepie", the Queen of which she would become, Dunne's performance is superior to that of her similar roles of this era. Her talent is just as complex and strong as that of her character and she inhabits the role exquisitely.

Lackluster romantic drama with feminist elements. Basically it's Irene Dunne spouting off about wanting to have her own career and being involved in relationships with douchebags. All of the success she has career wise is ultimately attributed to a man and the film's message seems to be that a woman's happiness only comes from the love of a man, so I really don't see where feminists are supposed to find much to love about this film. The brief middle part of the film dealing with the brutal goings-on at a women's prison are most interesting. They should've made an entire film of that. The rest is forgettable. The cast is fine. No standouts. Edna May Oliver is wasted, which is just criminal.

It seems ridiculous to us now that this was so controversial at the time and put the censors into a wild uncontrollable rage. Perhaps that's because it doesn't quite feel like an early thirties movie. The acting, the production and certainly the story seem much more modern.

Taken out of the context of its age, it's a fairly ordinary plot. There's no doubt it is extremely well made and but at the end of the day, it's just a story about an ordinary social worker. It's not something that you can get too excited about or want to watch again. Plenty of early thirties pictures are still entertaining as stand alone movies today - this however is one of those which is only interesting as a presentation of the morality, the attitudes, prejudices and constraints of the time.

Unlike some other "social injustice movies" of the time, this doesn't use an emotional sledgehammer to get its point across. Whilst that makes this feel more modern, if you love that old sensationalist approach such as used in NIGHT COURT or SAFE IN HELL you might find this a little bland and disappointing.