Stingaree

Based on a story by "Raffles" creator E. W. Hornung (brother-in-law of Sir Arthur Conan Doyle), directed by William A. Wellman and promoted as reuniting Irene Dunne (billed first this time) and Richard Dix from the cast of RKO's blockbuster "Cimarron," "Stingaree" is a ridiculous film but also an enjoyable one if you don't take it too seriously. True, it doesn't play to Wellman's strengths as a director (as the awesome, woefully underrated "Safe in Hell" had done a year earlier) or to Irene Dunne's talents as a comedienne, but her singing (her own voice; she was a fully trained operatic mezzo-soprano and had auditioned for the Met before signing with RKO) is gorgeous. Plot-wise this seems like a beta version of a Jeanette MacDonald-Nelson Eddy film — all it needed was a male star who could sing (or a voice double for Richard Dix) — and though the promise of the first reel that it was going to be "Cimarron" in Australia was not fulfilled, it was still a lot of fun. Incidentally, I wondered if any of it was inspired by the life of real-life diva Nellie Melba, the first international opera star to come from Australia. (There's been at least one other since: Joan Sutherland.)

STINGAREE was the first of the great Irene Dunne musicals: SWEET ADELINE; ROBERTA; SHOW BOAT; HIGH, WIDE, & HANDSOME; and JOY OF LIVING, count ‘em, six films (aside from 1930's LEATHERNECKING, but no one counts that!) is all you got. How can that be? She's my favorite! She sang in other pictures, but these six were the full-blown star vehicles for Kern's favorite movie soprano. Without a doubt, STINGAREE is the strangest, and, oh yeah, Jerome Kern is no where to be heard. We get some "Martha" and "Faust," and mostly several reprisals of a song called "Tonight is Mine," written by the talented Australian bandit, the Stingaree, himself. He let's her have this song, dedicated to her, and thus sets her on her path to international Opera acclaim. Sure, she is assisted by impresario Conway Tearle, and along the way we meet dignitaries and governors and even Disraeli, but no one can ever touch her true heart like the Stingaree could. And why not, after all, it is RKO's resident veteran stud, the Rod Taylor of the Twenties, Mr. Richard Dix who is portraying the dashing, debonaire, and musically inclined robs-from-the-rich, etc, legend. We get the music, the scenery, the costuming, the lush period detail, the horses, the chases, the fisticuffs, the... hey, what is this, a Richard Dix western, or is it one of the great Irene Dunne musicals? Well, there you have it. Based on E. W. Hornung's (RAFFLES) novel, STINGAREE is one of the most neglected, forgotten hybrids of the decade. It was screened in Syracuse last year, and while everyone questioned the reasoning behind its creation, all agreed it was an unusual, entertaining achievement. For STINGAREE is, in fact, a rather exciting (if fabulously improbable) action picture AND a desert topping. It was one of the big RKO releases of that season, and as such, boasts the best the studio could muster, and this included some important character work by some of our finest, including Andy Devine as Mr. Dix's (and the pictures') comedy relief side-kick (another vote for "it's a western"). Henry Stephenson (DOUBLE HARNESS; HEARTS DIVIDED; CONQUEST), not to be confused with another marvelous actor, James Stephenson (THE LETTER), is on hand to play the husband of a flighty, self-important woman who attempts to stand in poor Irene Dunne's way, and who else could portray such a woman but the great Mary Boland? Not simply a pitiful comedic plot device, Boland's fearless performance blends the charming and the likeable (and often purposefully annoying) Mary Boland, with un-reigned egoism, calculated duplicity, and an unexpected Agnes Moorehead-level guile. Let's hope they can find the funding to restore this classic!

Richard Dix and Irene Dunne, both from Cimarron, star in this very strange little film about an opera-loving outlaw on the run. Richard Dix happens to meet Irene Dunne and hears her sing. When Mary Boland (who is a total hoot as a self-absorbed patron of the arts and herself), from Greer Garson's Pride and Prejudice, won't let her audition for an influential friend, but only sings herself in her own off-key and shrill way, Dix fixes it so that Irene can audition for the V.I.P., despite the fact he puts himself at risk in doing so. As usual, Dix likes to ham it up, but endears himself at the same time. Ms. Dunne has never sung better in some very dramatic songs. And, what this film may lack in some technical ways and by feeling rather dated and old, it makes up for in originality and presentation. Overall, I liked it, despite its flaws and its incredibly unrealistic ending! Just go with the flow with Stingaree!

Australia, 1874. The famous bandit Stingaree is in the neighborhood; the prominent London music producer, Sir Julian Kent, is also visiting. Everyone is excited:

Mrs. Clarkson (Mary Boland), the nutty (and annoying) lady of the vast Clarkson estate, is determined that she will impress Sir Julian with her singing. Mr. Clarkson (Henry Stephenson) is not so sure, but he is curious to see the famous Stingaree.

Servant girl Hilda dreams of singing for Sir Julian herself—but Mrs. Clarkson is banishing her to the neighbors' during his visit. Hilda is crestfallen….might Sir Julian have been her once chance of escape from this lonely life?

Irene Dunne is wonderful as Hilda, and her performance makes this picture worthwhile. When she sits down at the piano, thinking herself alone, and sings—what a beautiful song, and scene.

Richard Dix is rugged yet refined as Stingaree, the dashing and notorious outlaw. He excels at disguises, takes bold risks…and has a keen appreciation for music. One very exciting moment: he's leaving in a hurry, cops in pursuit — he races toward the front door — sees Dunne standing there — picks her up in his arms and carries her off with him!

Andy Devine plays it fairly straight as Stingaree's loyal sidekick, Howie. (Neither Dix nor Devine attempts to sound remotely Australian or English, by the way—with the exception of Devine's hilarious phony accent when helping set up a robbery.) Conway Tearle is the devoted and reliable Sir Julian—it's a good performance but the role doesn't offer much except bland sincerity and mild passion.

The plot is outrageously silly—a suave criminal with a musical ear finds a girl in the sticks who sings like an angel and he risks life and limb to promote her career.

Nevertheless, the picture certainly has its moments. It's not every 1930s operetta-style musical that is highlighted by its songs, at least not to my taste…but Irene Dunne's singing really is most excellent, and she creates a character we do want to cheer for. A couple of neat plot turns offer pleasant surprises right up to the rather abrupt but satisfying ending.

Odd—but entertaining.

Somewhat lackluster period musical/adventure tale set in Australia, 1874 telling the story of a young lady named Hilda (played by Irene Dunne) who works as a servant for the wealthy Clarksons, sheep farmers, and dreams of being a great singer. An upcoming visit by Sir Julian, a famous composer arriving from London, drives jealous Mrs. Clarkson (an interfering biddy who fancies she can sing - but can't) to send away Hilda, so he doesn't hear Hilda has a good voice. Meanwhile, an infamous outlaw named Stingaree (Richard Dix) has just arrived in town and kidnaps Sir Julian, then poses as him at the Clarksons, where he meets Hilda a few hours before she is to leave. Hilda, thinking he's Sir Julian, sings for him - and Stingaree decides to help her with her career. She soon finds out he's an impostor, he ends up kidnapping her - um, and she likes it (and this is all in one night!). They are instantly in love - the fact that he is a bandit that the police are after means nothing to her. They are soon separated though - after Stingaree is arrested and Sir Julian takes Hilda to Europe to make her into a famous opera singer.

This is a somewhat mediocre film - though I did like Irene Dunne in this, Richard Dix gives a pretty hammy performance here (rolling eyes and all). It's not all bad, but I thought the story was just a bit hard to swallow - Hilda and the memory she just can't seem to forget: being carried off on horseback by a bandit/outlaw - I just don't know about this woman's choices. Some of the character actors in this do add a few bright moments here and there - especially Andy Devine, as Stingaree's sidekick "valet", who got me laughing in the few brief scenes he is in. The music in this is not too memorable either - all in all, so-so.