El matrimonio es asunto privado

The product of a broken home who has been raised by her cynical, much-married mother, Lana Turner enters into the kind of hasty wartime marriage everyone in 1944 was being warned against. And the man she chooses is stable, romantic and old-fashioned. Uh-oh. This picture shows how 'women's films' and 'soap operas' could sometimes tackle modern life's most important moral and ethical situations. Turner's character wants to commit herself to her marriage but realizes she hasn't the experience or the emotional tools to be a good wife, nor does she have the example of her parents' happy marriage to follow. MARRIAGE IS A PRIVATE AFFAIR explores that dilemma and does it very entertainingly. Too bad Lana didn't take the film's theme to heart!

As the newlyweds, Turner and John Hodiak have a wonderful sensuality and seeming spontaneity together during the scenes that take place on their honeymoon as they are first getting to know each other. And the movie presents a very interesting moral complication when it introduces the threesome that are Hodiak's closest friends from childhood. Consisting of a married couple and their male pal, Hodiak idealizes them but Turner recognizes the sexual tensions that will eventually threaten that marriage. For those who assume that '40s films never dealt with sexual issues, this picture might be a refreshing surprise, especially since it came from MGM, Hollywood's most conservative studio.

And for those who generally think of Lana Turner's late films when you think of her at all, her work in this and other early '40s pictures might surprise you too. Looking ravishingly pretty with a lush but trim body, in these years Turner actually seems to look at and listen to her fellow actors, and speaks her lines with expression and emotion, a real contrast to her sluggish, lazy late work.

Lana Turner was a true movie star, and she again proves it in this vehicle, "Marriage is a Private Affair," from 1944, which stars Lana with John Hodiak and James Craig. The Taylors, the Gables et al. were off fighting the war.

Turner plays a young woman, Theo, extremely popular with the men, who marries a soldier (Hodiak) whom she barely knows, Lieutenant Tom West. Nevertheless, they are happy at first, and have a son. But Tom's work keeps him busy for hours on end, and Theo starts to miss all the attention she once had. She also misses being perceived as a young beauty; now she's a married woman with a child. Because Theo comes from a family where her mother (Natalie Schaefer) was much married and divorced, Theo begins to worry that she's not cut out for marriage, especially when an old beau (Braig) puts the moves on her, and she's tempted.

"Marriage is a Private Affair" is overly long, and the script isn't much, but it was no doubt relevant in wartime when women married men in haste who then went overseas.

This film is really all Lana, absolutely gorgeous, with her beautiful face, figure, and soft speaking voice, a vivacious, flirtatious, and sexy woman who still had elements of a young girl. She really had something special. Later in her life, the energy drained from her, and the scandals, the smoking, drinking, and sun damage all took effect, even if she remained beautiful. But the effervescence was gone.

Back in the late '30s and into the '40s, Lana's star presence could - and did - elevate the most tedious of films. Later on, with the big sunglasses, fur coat and head covered with a scarf, she did, too, but for different reasons. This film is pleasant enough - without her, it wouldn't be worth watching. I highly recommend it if you're not familiar with the young Lana.

As the somewhat Margaret Dumont-ish title would indicate this is a classic chick flic with acting and dialogue pitched squarely at the lady's magazine crowd; you know, lots of gasps, raised eyebrows, meaningful gazes and lines like "If you lie to me about the maple leaf, Tom, then..." However, if you can get past the foregoing, as well as the Hays Office BS (Double beds on a friggin HONEYMOON?) and Robert Z Leonard's rather placid direction, then there are some pleasures to be had. Not the least among them (gee, I'm starting to write like this film!) is Lana Turner's better than expected performance in the lead, especially in the scenes with her wayward, matrimony loving mom, played to comedic perfection by Natalie Schaefer about twenty years before her three hour cruise (By the way, RIP Dawn Welles. That leaves only Tina Louise on the island) and one of the more well staged disastrous dinner parties you'll see on celluloid. Give it a C plus. PS...It took about three days to get Bronislau Kaper's voluble, intrusive score outa my head.

Marriage Is A Private Affair was the first film that Lana Turner did post the birth of her daughter Cheryl Crane. I guess that's what gives the scenes of Turner with her infant son in this film some special poignancy.

Turner is an irrepressible flirt, the kind who has to be the center of attention at all times. She gets that from her mother Natalie Schaefer who is on her latest husband Paul Cavanaugh. Schaefer has a Zsa Zsa Gabor like attitude toward marriage which she has passed on to her daughter.

But Lana does fall for and marry John Hodiak who is something of an inventor and considered necessary to the war effort so he can't activate his commission and get where the fighting is. They have a kid and it works for a while. But she gets bored and wants to see if she still is attractive even after marriage and childbirth. She tries flirting with flier James Craig to see if she still has it.

Marriage Is A Private Affair was also the first film Lana Turner did with billing alone above the title. She does a fine job as a girl who turns into a woman and finally decides to grow up. Her two leads Craig and Hodiak are also well cast in their parts.

Also in the cast are Herbert Rudley and Frances Gifford a seemingly happily married couple with some secrets and issues. Gifford is a lot like Turner. Hugh Marlowe is in this as well as a scientist friend of Hodiak's also anxious to get to war.

Probably had this film been done in about 10 years at least after the second World War we might have seen Turner more loose and slatternly, but during wartime there was no way Hollywood would show a star like Turner being less than true, flirting yes, but cheating a definite no-no.

True blue women is part of what we were fighting for.

The makers of this film had a premise: a woman whose childhood makes her a rather flakey person, a bit unsure of herself, picks one of her many suitors just to see if she can. But from there, the movie forgets drama. Why should she come to embrace marriage? It's not the birth of her son. It's not any one thing that happens to her. There's no plot catalyst in this movie, no psychological edge. It's more like a soap opera, where the characters change for no particular reason.