Quelle joie de vivre

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.

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.

Comedy about a famous singing sensation Maggie Garret (Irene Dunne) who is constantly hounded by the press and rabid autograph hounds, and that's not all - a man (Douglas Fairbanks Jr.) who is crazy in love with her from afar is busy chasing after her too, but she doesn't seem to care for him and sees to it he is arrested for "mashing". But when he is sentenced to six months in jail (and based on the fact that he is rather handsome and charming, I surmise) she agrees to become his "probation officer" so that he can be released. Next thing you know he's advising her that she needs to live for herself and have some "fun". Soon they out on the town boozing it up on gigantic mugs full of beer, becoming very, very drunk to the point where they are playing face slapping games with other and end up stealing a bunch of signs from local businesses - h'm, at this point she actually begins to really like him for the first time, I guess all it took was the drink.

Nothing great here - but still entertaining, silly, and fun to watch. I didn't find this film particularly laugh-out-loud funny (except for the scenes with Billy Gilbert which ARE quite funny) - but it is amusing and has a number of scenes featuring favorite comic actors from the thirties including not just Billy Gilbert, but Franklin Pangborn, Eric Blore, even Lucille Ball - all seen in very small parts. The film also features a number of catchy songs performed by Irene Dunne, especially "You Couldn't Be Cuter" - so catchy, in fact, I am still singing it aloud as I type. Worth seeing.

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.

A successful star, a sponging family, and a wanderer with a pencil-thin mustache to upset the apple cart. With its antecedent in proto-screwball BOMBSHELL, 1938's JOY OF LIVING has a clear model that allows us to note its strengths and weaknesses.

Strengths first: Irene Dunne and Douglas Fairbanks Jr. Miss Dunne sings here, something she did all too rarely in the movies. She was also a perfect foil in screwball comedy. As for Fairbanks, he was made for light comedy, one of those great leading men who never seemed to understand how good-looking he was. Their scenes together are a delight. The sequence where they go out for a cheap night on the town is simple, lighthearted fun. There's also a gret cast in support, including Guy Kibbee, Alice Brady, Lucille Ball, John Qualen Billy Gilbert....

The weakness, however, is that most of that cast is wasted. They are so wasted that there's no real sign that they are leeches. Kibbee and Miss Brady as Miss Dunne's parents might just be retired and enjoying having a daughter so successful she can keep them all on Sutton Place. Kibbee drinks secretly, Miss Brady flutters, Miss Ball seems a trifle clingy, but there are twins for Miss Dunne to sing "You Couldn't Be Cuter" to. The movie feels unbalanced, as if editor Jack Hively (who, as a director, may have invented Film Noir) tossed out the scenes establishing their character in favor of the leads drinking beer and playing "Crack the Whip" on an ice-skating rink.... which is understandable. Or perhaps director Tay Garnett thought the plot was so common he could just indicate it.

It's a close decision, and while I enjoy watching Billy Gilbert berating waiter Bert Roach, I don't think it's a favor to the movie. Still, it's great fun.