Aventura matrimonial

Although there is a silly side to this movie, I really don't think that its only value is as a curiosity. In reality, it was a singular vehicle for Ginger Rogers to flex her acting muscles, instead of merely being a sidekick in a dance routine. She is something to behold in this movie. And, I maintain that if you are a Cary Grant fan, it's nothing to sit through this slightly confectionery film. It is practically astonishing that the Jewish issue was addressed in a movie made in 1942. Finally, it's worth pointing out that any average film from this period is Shakespearean compared to the dreck on offer most of the time these days.

American burlesque dancer Ginger Rogers jumps at the opportunity to marry a wealthy Austrian baron (Walter Slezak). Little does she know her new husband is a Nazi. Enter radio news correspondent Cary Grant, who falls for Ginger while trying to do a story on her husband. He follows the pair all over Europe. When she's forced to face just who her husband is and what is really going on in the world, Ginger decides to flee with Cary.

A wartime romantic comedy directed by Leo McCarey with two of my favorite stars, Cary Grant and Ginger Rogers. Sounds amazing. Unfortunately it isn't without flaws. But first, some of the good. Cary is charming as ever and has great chemistry with Ginger. Love the measuring scene. For her part, she's pretty and fun. I'm not sure why she was using that terrible accent early on. Her husband knew she was an American so I don't understand who she was supposed to be fooling. I guess she was supposed to be putting on airs, like some kind of society lady or something. It's pretty weird and never addressed. Walter Slezak makes for a fine villain, as he usually did. Albert Bassermann is great in a brief role.

The scenes with Cary and Ginger are what works most in the film, particularly in the first hour. On the downside, when the film awkwardly switches to drama it undoes whatever momentum it has built up. I'm not offended, like other reviewers are, over the use of Nazis and anti-Semitism in a (mostly) light comedy. It was all within context and treated appropriately. However, I do think the movie becomes less interesting and certainly less fun in the second hour as it becomes darker. The fact that it goes on so long is what does it the most harm, though. As it is, it's a flawed film but still worth a peek for fans of Grant and Rogers.

Leo McCarey helms this 1942 lark, whose moods and genre conventions---saccharine romance, espionage adventure, screwball farce and war-time propaganda---swing to and fro so regularly that it's difficult to be bored even when the tipping scales of narrative contrivance become somewhat stressful at times. It's soapboxy-er than its early blitheness suggests, and at one point, the customary lead comic duo is mistaken for Jews and have a close shave with quite a grim fate. At times, because of the nonsensicality of the wildly contrived plot, the brashness of swastika hands on clocks and downer developments initially feel mislaid before they're consistently salvaged by a highly competent group of surprisingly naturalistic and genuinely funny performers, but meets its challenges admirably when it matters.

Vienna, 1938. Ginger Rogers plays Katie O'Hara, a Brooklyn dancer who's flown off to marry the rich and high-ranking Austrian Baron Von Luber, a Nazi VIP on the sly, for status and prosperity. Chin dimple extraordinaire Cary Grant plays hyper-transatlantic correspondent Pat O'Toole, who receives a job as a radio commentator to obtain a rare interview with the impending baroness to expose the Baron as a Nazi undercover. The Baron is played by Walter Slezak, that indelible character actor who managed to get pigeonholed as cunning Nazis. You may recognize him from Hitchcock's Lifeboat. Pat's not deterred by Katie's unwillingness to be questioned, and manages to meet her posing as a tailor.

Obviously, the reporter becomes smitten with Katie and frantically attempts to disabuse her regarding her fiancée. A turning point slams into this happy-go-lucky buffoonery when Hitler takes Austria, and Katie begins to learn the truth about her new husband's dealings. The two brash Yankees team up and go on the lam through Norway, Holland and Belgium before sudden sabotage missions are sprung on them and create grave dramatic tension. "This is the sort of thing that can make a man a Republican!" he huffs.

I had my doubts about Ginger Rogers. Not having seen many of her best known films such as those with Fred Astaire, I thought she may prove yet another example of how incomparable Irene Dunne was alongside Archie boy. About forty minutes into Once Upon a Honeymoon, I was firmly disabused of my presumptions. She has an inborn knack for being natural in a way that even transcends the stagy tenets of the Golden Age, saying a lot without saying much, and saying something different with her face than what she's saying with her mouth. I can't say this excuses the inanity of Archie earlier on managing to trick her so effortlessly into thinking straight vodka is a glass of water, but overall, she's not an uncomplicated Dumb Blonde Type present only to hang off Cary Grant's shoulder. McCarey takes the time to photograph her surprisingly emotive disillusionment about the state of affairs around her.

I'm frankly willing to forego any criticisms or dismissals of any moments that border on cornball or lugubrious purely for reward of the scene where O'Toole and Von Luber finally happen upon one another and have a man-to-man sit-down. It's one of those delicately cool scenes where two characters hold their cards firmly against their vests, but say just enough and share just enough sidelong glances to be satisfied of the other's hand. It's an exciting scene that raises the stakes and ratchets up the tension in a subdued, completely unexpected way. In fact, McCarey and his cast are so graceful that it only falls apart when it finally reaches the bungled ending, which I suppose is what happens when you try to balance propaganda and slick storytelling. Regardless, though quite the opposite of cynical or acerbic, it has a streak of the spunk and cunning of a Billy Wilder film, or the "shpontanuity," as one of the Baron's comrades suggests.

When Leo McCarey made this film, America was only a number of months into WWII. The events leading up to the start of the war (at least in Europe) were known to some, with most of America still getting their news from the newsreels at the theater or radio. This film is a great way for people to learn about how the opening of WWII began, especially now where some schools are limited in their ability to cover the events. Two "average Americans" moving about Europe, sometimes steps ahead (or behind as in the Polish through Low Countries scenes) of the events which changed Europe. The time in the Polish Ghetto, as well as in Paris, allow for the audience to get to know the characters, without having to gather the facts as the story goes along. Just as National Treasure teaches about American History while entertaining, this movie belongs in the same group, as it tells a "You Are There" version of 1939-40 European History.

It's a war film, a bit of a horror film, a code busting romantic comedy, and a drama. In 1938 Austria, journalist Patrick O'Toole (Cary Grant) comes to American Kathy O'Hara (Ginger Rogers) to let her know that her future husband, the Baron Franz Von Luber (Walter Sleazak), is a Nazi. Except the conversation does not seem serious - ever.

O'Toole flirts shamelessly with O'Hara. She flirts back. But she does marry the Baron. And there are numerous other meetings later on where in one case O'Toole just decides to order a big lunch from room service in Poland, take his clothes off in the Baron's suite and borrow his pajamas, and take a nap. And each time Grant and Rogers meet they continue their flirtation and then Ginger goes back to her husband, while romantic comedy music plays. Then Rogers just suddenly decides to leave the Baron for Grant. They traipse across Europe looking for a way back to America - even getting stuck in a concentration camp for awhile that inaccurately looks more like Juvenile hall.

For a war movie there are really no serious dramatic confrontations. It all plays out like The Awful Truth combined with the Hope/Crosby Road movies except in War torn Europe and the whole thing is off putting.

How can a film with an acclaimed director - Leo McCarey - bomb this badly, especially with a talented cast. The production values are top notch - this is not some Ed Wood film, so in fact it is worse than one. In an Ed Wood film you see things done wrong - poor and silly art design, laughably bad dialogue, poor cinematography. So this even fails as a bad film, because it is expertly presented, but it manages to be weird and boring to the point it is just annoying.