The Secret of Madame Blanche

It may be difficult to get past the premise of "Madame Blanche": movies always require a suspension of belief to some degree, but I had a very hard time with this one. I can't swallow the idea that Irene Dunne would give up her career to marry Phillip Holmes' snivelling, substance-free, work-allergic wimp of a man, after knowing him for about 8 seconds. Did young people in the 30's really marry so quickly without getting to know their potential spouses?

Anyway, Holmes quickly justifies are suspicions. His father disinherits him, so angry is he that Holmes has married so far below his station. Holmes does nothing to make us feel any sympathy for him, but Irene Dunne loves him so! A real unappealingly weak character, he is.

The dialogue is so insipid and without drama in the first half of the film that I seriously wondered whether I had the will to see it through.

Happily, there is much improvement in the second half. Dunne's soldier-son, played by Douglas Walton, starts off as weak and selfish a person as his father (Holmes) was, but he does grow up and change nicely, and is somewhat appealing. Dunne is fabulous and convincing as an older woman - actually, impressively so - it is hard to recognize her as an attractive younger woman in her "old age" make-up!

Lionel Atwill is absolutely evil as Holmes' brutally heartless father. The best scene in the film actually occurs in the first half: look for the close-up, upper-bodies -only shot of Dunne and Holmes in what will be their final parting; the entire shot is beautifully and slightly and softly out of focus, and is quite effective and touching.

Overall, this is a mixed bag, but if you love early sound films just for their own sake, or are a fan of Irene Dunne, then you will appreciate this little soap opera.

Innocent woman meets rich playboy. Innocent woman is seduced by rich playboy. Innocent woman is abandoned by rich playboy. Innocent woman has rich playboy's child. Innocent woman loses rich playboy's child. No-longer-innocent woman ages and prepares to sacrifice all for her child.

An entire genre of motion pictures, which often feature Barbara Stanwyck or Lana Turner, has used this basic plot to wring tears from largely female audiences. In "The Secret of Madame Blanche," Irene Dunne takes a turn at this well-worn routine and maintains her dignity throughout, despite the script's attempts to drown her in clichés. In the role of showgirl, Sally Sanders, Dunne has a few opportunities to show off her fine voice, but the musical selections are poor. The relatively short film, which was adapted from a play, lurches forward from hackneyed scene to hackneyed scene and leaves chasms of time for the audience to fill in. Occasionally, patient viewers will be rewarded with dialog and delivery so rich in camp that they will howl helplessly with unintended laughter, although a mouth-to-mouth kiss between mother and son, perhaps common for the period, induces cringes today. While Lionel Atwill is effective as Aubrey St. John, the selfish controlling father, and Philips Holmes is appropriately weak as his son, the rich playboy, the film offers little beyond the incomparable Irene Dunne slumming in a sub-par vehicle. Coincidences abound, French accents come and go, laws benefit the rich and oppress the poor, and a mother's self-sacrificing love conquers all. What more could one ask for? Perhaps Barbara Stanwyck and "Stella Dallas?"

This is a truly silly film in which Irene Dunne falls in love with Phillpis Homes. She is a performer; so that won't do with his fine family. She thinks she can get his father to reconsider. But we know better: The father is the always scary Lionel Atwill! She's lucky he doesn't mummify her on the pot.

The actor who plays her son, many years later, is pallid and odd looking. And the screenwriters (and censors) seem to have forgotten who is related to whom and how at the climax.

Dunne is charming but she has a terribly corny plot to work with. She ages well. When she is an older woman, going under the name of the title, she is tougher than usual. Maybe Barbara Stanywck could have done more with this role. But it's pretty doubtful.

IRENE DUNNE had THE SECRET OF MADAME BLANCHE. It's the forerunner of all those Madame X stories that gave actresses meaty roles in tear-jerkers. For Olivia de Havilland it was TO EACH HIS OWN. For Lana Turner and earlier, Ruth Chatterton, it was MADAME X. For Helen Hayes it was THE SIN OF MADELON CLAUDET. These were the kind of stories that spanned some twenty years, always about women who were cheated out of mother love--women who fell in love unwisely and were then cheated by circumstances.

LIONEL ATWILL is the rich father whose son (PHILLIPS HOLMES) has fallen in love with a cabaret singer and he opposes the match from the start, threatening to stop giving his son handouts to keep them solvent. The son is destitute when he learns that she's about to have a baby and finally commits suicide. The years fly by and Dunne is now a working woman in London at a not very reputable establishment populated by servicemen. It's World War I and one of the patrons is a young man who makes a fuss over not being given a room. He turns out to be her son and she is soon protecting him from a murder charge.

It's a pretty plot-heavy melodrama with enough twists and turns to keep the viewer interested, but you have to have a taste for these mother/son tear-jerkers to truly enjoy this sort of film.

The final scene with mother and son reunited at a prison after a stormy trial, is reminiscent of MADAME X--but at least here, the son learns the true identity of his mother.

another winner is this Madame-X-type film about mother love. She plays a classy stage performer who marries the spoiled son (Phillips Holmes)of a selfish rich man (Lionel Atwill). The son commits suicide after the father cuts him off and Dunne then loses the baby to the evil old man. She fends for herself over the next 20 years in French bars. A curious set of coincidences reunites mother and son during WW I. Anyway, Dunne is wonderful--as usual--as the mother and gets to age (as in Cimarron) into a spunky old lady. Irene Dunne remains one of the most underrated stars of the 30s, excellent in drama, comedy, or musicals. She's also one of the most likable.