Joy of Living

Irene Dunne plays a Broadway singer who serves as her family's meal ticket. Her family, including sister Lucille Ball, don't do much, other than enjoy the wealth and status (by association) Dunne's success brings them. Dunne is exhausted, but is constantly pressured into taking more and more responsibilities on and Dunne does so as to not disappoint her family. Despite all of her hard work and wealth, her family's spendthrift ways have plunged Dunne deeply into depth. When she finds out about her financial woes, she is very disillusioned (who wouldn't be?).

Dunne ends up meeting heady and fresh Douglas Fairbanks Jr. At first she is put off by Fairbanks' pushiness and even has him arrested at one point, accusing him of being a masher. Fairbanks manages to charm his way out of jail time and even gets Dunne appointed as his probation officer. Legally he has to report to Dunne two times a week. As she gets to know Fairbanks, Dunne finds out that he comes from wealth but has chosen to live his life as a pleasure seeker. He also claims to own an island in the South Pacific and urges Dunne to leave her stress behind and live in paradise with him.

Lucille Ball is good as Dunne's younger sister (and understudy), but her part is so small, she doesn't really get to make much of an impression. Though, she continues to prove that she is good with the one-liners. It must have been frustrating for Lucy to have come from such a great supporting part in Stage Door, only to be put into another small supporting part, but in not as prestigious a film. Irene Dunne is good here, even though it is only sightly above average material. Douglas Fairbanks Jr is always a charmer and he's very handsome in this film. It's easy to see why Dunne would have a hard time between choosing Broadway or Fairbanks.

Irene Dunne is glamorous Maggie Garret, famous Broadway star, who is supporting her family in "Joy of Living," a 1938 comedy also starring Douglas Fairbanks, Jr., Alice Brady, Jean Dixon, Guy Kibbee, Lucille Ball, and Eric Blore. When Dunne meets the wealthy, carefree Dan Webster, he tries to show her what it's like to have fun and also to convince her that her family is freeloading off of her.

This film is so lightweight it practically drifts upward. Dunne sings the same song at least 40 times (or it felt like it), "Just Let Me Look at You." It was okay the first time; after that, you longed for another number. Dunne was adept at both comedy and drama, and she sang well. In comedy, she had the knack of appearing to have a good time and of improvising (which in "The Awful Truth," she was). I loved her scene in the courtroom when the judge says a respected person can be the parole officer/civilian guardian for Dan Webster, whom she has accused of stalking her. "You must know lots of important people," she says. Webster shakes his head. "The only one I know is you." Dunne purses her lips and, frustrated, says under her breath, "What a pity," while it never occurs to her that she's being set up. The roller skating sequence is very funny; the scene in the bar goes on a little too long.

Fairbanks, a very versatile and charming actor, is lively and attractive as Dan. Lucille Ball has a small role as Maggie's whiny sister/understudy. As Maggie's mother, Alice Brady is quite dramatic and overblown, as she tended to be, having come from the stage. However, Brady was an excellent actress, and her acting was appropriate for the role.

Nothing special, and I would submit that in order to enjoy it, you have to be a fan of Irene Dunne's.

Joy of Living is not one of Irene Dunne's five best movies, but she does what she can with a plot that often seems like a blend of "Theodora Goes Wild" and some of her earlier heroines she played so seriously and so well. In my opinion, it never quite gets off the runway, even though it has a long list of well-known character actors such as Eric Blore, Alice Brady and Franklin Pangborn and some able talents such as Douglas Fairbanks and Lucille Ball.

The trouble I had with "Joy of Living" is the fact it's too close to previous roles Irene Dunne played with distinction. How best to describe it? Going to the well once too often? Taking advantage of past successes audiences loved in order to leverage their drawing power? I thought the plot was weak and the writing less than top-notch, which was also true of the cinematography. The sequences in the roller skating rink were not well done; and the one real highlight of the film was Irene Dunne's impishness when she finally lets loose.

I don't blame Irene Dunne for making this movie; but the director failed in my opinion to develop it in such a way as to draw out and highlight her monumental talents. The music written by Jerome Kern, who is one of my favorite composers, doesn't reach up to his usually high standards either.

This movie is not a waste of money; and I hate to pan it. But I'm afraid Irene Dunne spoiled me with efforts like "Back Street"; "Ann Vickers"; "Consolation Marriage"; "Theodora Goes Wild"; "The Awful Truth"; "Love Affair"; and "I Remember Momma" and this movie simply isn't in that league.

This ecstatic little musical comedy pageant must sport the highest level of springy, rambunctious, impromptu optimism of any film, right down to the lighthearded silliness of the whole movie which, at the same time one can feel underwhelmed by it, the filmmakers are holding true to the spirit of its characters, allowing no room for ardor of any kind.

Douglas Fairbanks, Jr.'s supposedly self-styled sprawlingly open and adaptable stream-of- consciousness maverick is not a very good person. In spite of guiding the always outstanding maven of feminine supremacy Irene Dunne to break free of her oppressive, controlling family, he is oppressive and controlling, too. He is essentially a stalker whose influence on his object of fondness (no description of anything regarding this film could get more passionate than that) causes her to reciprocate. This, however, is no matter, because by means of the movie's completely detached, carefree spirit, it doesn't matter what he's like.

Joy of Living's philosophy seems to border on reckless, Fairbanks and gradually Dunne feeling overly optimistic and expansive, disregarding the resulting difficulty with commitment and trustworthiness as the itch for fun and free-flowing unpredictability of events call the shots. But it's a perfectly cast film with hilarious scenes featuring a fat German man dancing.

The script is what prevents Joy of Living from being the fabulous movie it could have been. Did the audience of 1938 find Fairbanks character -a stalker, controller, manipulator - appealing? Did the audience cheer when Dunne dumped her grasping family and abandoned her Broadway career for Fairbanks and an island in the South Seas? An island escape is fine for a 2-week vacation, but will forsaking all one has worked for and achieved, and abandoning stardom for fun and sublimating herself to her husband's goals of having a good time be satisfying? Also, Fairbanks is not stellar. He's an OK actor but not equivalent to Cooper, Gable, or even Scott or McCrea, not that any of these talents could have made a silk purse out of this sows ear of a character.

Fairbanks introduces the career-oriented Dunne to the Joy of Living, which is accessed via getting intoxicated on pitchers of beer. She cuts loose, has a barrel of fun, and in her inebriated state finds him so appealing that she marries him. And then runs away with him. He's besotted with the Great Star, but she's spent so little time with him that she doesn't know him or have any realistic idea of what life with him on his island will be like. Had the film ended 6 months after their marriage, we would have seen a very unhappy Dunne back in New York filing for divorce and returning to the Broadway stage.

What Dunne deserved is a husband of substance and merit who would have loved her - not just her public persona - and supported her in her career while pursuing his own career goals. Instead, as there were no other suitors, she tumbled to Fairbanks, who made noises like Donald Duck to show his displeasure and demonstrated his joie de vivre by whooping it up like an Indian brave going into battle.

Yes, I do understand that this is screwball comedy, but it falls far short of the great classics such as My Man Godfrey and Dunne's The Awful Truth. Still, despite the poor script, Dunne's performance makes this film worth watching.