The White Cliffs of Dover

This film is both tender and powerful-with a very moving score. If, like me, you enjoy lying down at night just listening to the voices and music coming from an old classic film-this is the one for you. At the beginning when Ms. Dunne is telling her story and reflecting on her life in England-the music fits perfectly, the mood is wonderful, and her voice just makes you want to melt. Then, before you know it, even though you thought you just might want to "half" watch this film on a lazy night-you find yourself caught up in it all. The English/American bickering becomes quite funny, the romance, the war, the drama, the sadness, the next war... Irene Dunne at her best-and beautiful as ever-with that strange, knowing almost mischievous look in her eyes. I truly believe that films like these are healthy for us(sort of like watching fish in an aquarium-or shopping for antiques, petting a dog, etc.) Do yourself a favor and watch/listen to this lovely movie. If you're an Anglophile then you are really denying yourself a great pleasure by not seeing it.

One of the great crimes of the Academy of Motion Picture Arts and Sciences is that Dunne was never given an Oscar....not even an honorary one! Most of her performances transcend time and come off as fresh and natural today as when they were first delivered. She just must have made it look too easy. The woman could do everything! At any rate, this film features another strong performance from her. She plays a young American girl who comes to England with her father (the irascible Morgan) and is soon swept off her feet by dashing and wealthy Marshall. Before they can enjoy any sort of life together, he is called to serve in WWI and they are separated. This is only part of the story as her life unfolds through the next decades and she struggles with letting her son (McDowall, then Lawford) serve in WWII. The film is obviously patriotic and propaganda filled, but understandably so as WWII was still being waged! Dunne is luminescent in the role and is surrounded by a strong array of familiar supporting actors. Notable are Cooper (endlessly watchable in anything!) and Witty (wonderfully crotchety, yet sentimental.) It is a touch jarring to see Taylor grow into Lockhart (young Taylor barely says anything, but "Yes, Sir John".) Lawford is at his most youthful and appealing. The film has a lot of sentiment and melodrama, but also a lot of heart and a little humor. It winds up being quite touching at times and displays a time long gone, but a patriotism that can still be resurrected when events call for it.

White Cliffs of Dover was made to stoke the flames of patriotism. The film is largely Dunne as a 50 something WWII nurse awaiting a large number of casualties as she looks back on her life in England.

Her memories consist of the tale of a Yankee girl, Irene Dunne as Susan Dunn, who goes on a two week vacation to England with her father and on her last day there meets a member of the English gentry who is instantly smitten by her and talks her into staying and marrying him. At first Susan feels out of her element as Lady Ashwood, but she quickly finds her footing. She and her husband, Sir John Ashwood, don't even have time for a honeymoon as WWI starts and he is off to fight with his regiment. After three years he finally gets a few days leave, but it is long enough to conceive his son, John Ashwood Jr., or John Ashwood II as the British would say.

Irene Dunne always gave good subtle performances in parts that could have easily gotten ham-fisted, and this role is no exception. Frank Morgan as her Yankee dad is a revelation as he is for once not the befuddled comic relief but a spirited American father who wants his daughter home in America before her marriage, and safe from the Nazi bombs as the winds of a second war approach. C. Aubrey Smith lends terrific support as Colonel Walter Forsythe, considered a crackpot at the boarding house where he and the Dunns were staying during their trip, because he claims to have a standing invitation to the most exclusive ball in England, but seems to just be a common pensioner. Well it turns out he really can turn pumpkins into carriages after all. Roddy McDowell plays John Jr., and he is smitten by one of the daughters of the tenant farmers on the estate played by a twelve year old Elizabeth Taylor in only her third credited role. Their scenes together are just too cute.

As with most of the WWII films there are a few lines and a few scenes that get over the top just a bit. There are the American soldiers marching through the streets of London to rousing patriotic songs played by a military band as the film comes full circle. There are the two German preteens who are friends of John Jr. during the early 1930's who just happen to erupt into Nazi propaganda at the dinner table. I was surprised one of them didn't put a comb under his nose and start imitating the Bohemian corporal. And then there is grief that takes all of 15 seconds in spite of its cruel irony because you just HAVE to keep that stiff upper lip! But it's not overdone for a film that is over two hours long, and it does take that long to do the tale justice.

The only reference to the White Cliffs of Dover comes in at the beginning of the film as we watch Susan and her friend, Sam Bennet, as they are approaching England by sea. The magnificent cliffs are seen in the distance in all their splendor. Susan, clearly moved by the sight, revels on the many things that await her in London where she and her father are going to spend two weeks vacation.

Alas, when they arrive, they are treated to the typical rainy weather, that puts a damp, no pun intended, in her enjoyment of a city and all things English she has always admired. Instead of finding a place that meets all her expectations, Susan has to endure the weather and the prospect of going back without seeing the sights and places she really wanted to see.

Enter the kind Colonel, the man living in the modest hotel where the Dunns are staying. He invites Susan to a society ball where she meets Sir John Ashwood, the man who will become her husband. John is instrumental in her staying in England. Susan never expected to be married into the rich gentry that John belongs to. In fact, the beginning of her life in the family country estate convinces her she doesn't belong.

It's 1915 and WWI arrives without warning. Susan sees in horror how John goes to his regiment and to the front. He eventually dies, but the son that arrives for her is, in a way, a painful reminder of the great loss she suffered. Like his father, the boy grows up and has to go to war, as it's expected of his kind.

"The White Cliffs of Dover" was directed by Clarence Brown, who gave it a great look. Irene Dunne makes a good impression as Susan, the courageous woman who stays in a strange country and has to make a new life for herself and her new family. Alan Marshal is perfect as the dashing John Ashwood.

In minor roles we see Roddy McDowall, who plays the young John Ashwood. Harry Morgan is Susan's father. Gladys Cooper, May Witty, Peter Lawford, Van Johnson, C. Aubrey Smith, and the rest of the cast do good work. The young Elizabeth Taylor is seen as the young Betsy and June Lockhart appears as the grown up girl in uncredited roles.

"The White Cliffs of Dover" is about loyalty for one's country and how tradition plays a role in the lives of all the people one meets in the story, even during the difficult times these characters had to live.

Irene Dunne is all in all herself, tender, transformative and powerful as an American girl who travels to England and falls in love with an English member of the aristocracy. Beautiful Irene marries the Englishman but their honeymoon is cut short on its first day as World War I breaks out. Director Clarence Brown's leisurely mood effect causes us to feel as disrupted as they do. Perhaps it is the soothing joy derived from the old-style black-and-white 35mm Spherical look, a classicism in George J. Folsey's cozy cinematography, that creates such a peaceful atmosphere. Believe me: This feeling is augmented by seeing it on a VHS tape, almost as though you are watching a timeworn relic. When the film quietly, serenely begins, Irene reflects upon her feelings relating to her life in England, a life she never expected to lead from event to event beginning with her purely dabbling arrival. The moving musical score fits like a velvet glove over the sustained close shot of her gorgeous face and the iceberg-thawing sound of her voice.

The backbiting between Irene and her English counterparts early in the film is funny, posing one of the movie's unanxious emotional successes which as well include strong romantic and maternal joys and longings, WWI, brief bursts of rage, mourning, WWII, and the like. A scene in the movie circa the early 1930s sends a chill down the spine, illustrating two polite adolescent German boys, part of an exchange program, staying at the English family's countryside manor. Intimating they were part of early Nazi invasion plans, the boys let it slip in a conversation's startling turn for the less comfortable that they are pondering how the estate's large green would be perfect on which for troop gliders to land.