O Segredo de Madame Blanche

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 film that probably won't please everyone. Viewers looking for a film with a lot of realism and a plot that is lacking plot holes would probably find it pretty tough going. Plus, those who aren't particularly inclined to watch old fashioned soap operas might also balk at seeing this film. So be it. However, for a lover of classic Hollywood films who accepts all the irony and melodrama without being too critical, the final product is lovely to watch and very satisfying.

Now I must admit that usually a film with this many weepy scenes turns me off a bit, but the writers, directors and Irene Dunne manage to weave a tale so well that my sometime cynical nature was kept in abeyance. Plus, the amazingly awful and evil character played by Lionel Atwill was one of his best roles--one that will definitely make an impression on the viewer. Now I must admit that the impossibility of the final third of the film was at first a bit hard to take, but when the plot wrapped up like it did, I found I just didn't care--I wanted the hokey Hollywood ending and enjoyed it thoroughly. An excellent weepy film--similar to, but in many ways superior to MADAME X and SO BIG! If you liked this film, try Barbara Stanwyck's STELLA DALLAS--another great weepy melodrama.

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.

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.

This is a close cousin of the classic (and often-filmed) "Madame X", but with some minor plot differences that make it worth watching. Fans of Lana's 1966 "Madame X" and the other versions may be curious about its predecessors and similar movies. In this one, Dunne gives a warm, heartfelt (and as is often the case with her) a startlingly contemporary and comfortable performance. Her work in the '30's tends to transcend the span of time and come off fresh now, SEVENTY YEARS later!! When her character ages, this quality is almost totally lost as she is buried in make-up and unnecessarily old-ladyish garb, wig etc.... (The most her character can conceivably be is 50 or so, but she looks like Bette Davis in "A Pocketful of Miracles"!!) Her mannerisms take over until it appears that Molly Shannon from SNL has stepped in to play the part! However, her early scenes, where her romance blossoms with the rich young man who loves her, are the best. She glows. Her scene with her little baby boy is also worth the price of admission alone. The child is adorable and the scene is spontaneous and beautiful. Like most of these tales, the deck is stacked WAY against the leading lady and it gets to be almost ridiculous, but the film is most definitely worth watching as a curio. The screenwriters Hackett and Goodrich were often called upon to translate plays and books to the screen. This was their first try and they do a decent, if occasionally trite and contrived job (this was a different era of film making, though.) It is laughable to think that Irene Dunne has no Academy Award, yet Paltrow, Tomei and Sorvino do..... Crazy!