Doce Adelina

I really wanted to like this film. It had personal sentiment for me as my mother's day was "Adeline" and I had high regard for Irene Dunne ever since I saw her star in "I Remember Maman."

Yet, despite that positive attitude going in, this wasn't something I'd watch again. It wasn't bad; just too dated and I didn't care for Irene's soprano voice. Yikes, that women hit high notes that rattled my fillings! At least she looked good: the most attractive I've seen her in her younger years. The film, though, as a whole, had a very dated appearance.

Billed as a musical romance, I was impressed with how much humor was in this movie. As for leading men, I knew Donald Woods from "A Tale Of Two Cities" but he never struck me as forceful enough to be a leading man. Louis Calhern, however, always was credible at the detestable villain, as he was here once again.

Reviewers here knock the script, but it was the songs that did nothing for me, not the screenplay. Had these songs been more appealing to me, I probably would have kept the VHS, if only for sentimental reasons.

Despite a competent cast of players and the Vitaphone Orchestra doing their best to give the music a turn-of-the-century beer garden sound, SWEET ADELINE does nothing to indicate that musicals would find favor with the public in a big way. The old-fashioned Broadway play has been fashioned into an old-fashioned early '30s musical with absolutely no distinction, either in the musical numbers themselves or the lackluster storyline. It's all strictly cornball and very, very hokey.

I'll leave a description of the story (which takes place in 1898) to others who have already given a detailed synopsis. Suffice it to say that only the most ardent fans of IRENE DUNNE would be willing to sit through this one patiently enough. She does get a chance to lift her voice in song a few times but the result is, to put it charitably, very modest, nor are the songs anything to cherish.

DONALD WOODS, a handsome actor usually confined to supporting roles, is the lead and relies on earnest glances at Dunne to carry his role. It's not enough. Some below par humor is supplied by Hugh Herbert and Ned Sparks.

Summing up: Stands alone as one of the least entertaining musicals of the '30s--bad script, dated material and forgettable songs.

Irene Dunne is "Sweet Adeline," who sings in a beer garden and has aspirations as a professional singer. Her father is opposed to Donald Woods, who write songs, as a suitor. Hugh Herbert plays an eccentric yet likable character (when did he not), who is trying to catch a spy, who is a famous singer. All this sounds admittedly simple-minded, undemanding and corny, but that's why I found it to be refreshing. Hugh Herbert's scenes with Nydia Westman, as Irene's sister, were very natural and were genuinely amusing/funny. Perhaps the highlights of the film are the outstanding songs written by Kern/Hammerstein, sung to perfection by Ms. Dunne. Despite the old feel of this film, I would watch this again, not expecting much except a good, easy-going time with Irene Dunne and company.

Sweet Adeline was presented on the Broadway stage back in 1929 and was primarily a vehicle for Helen Morgan. Morgan had just made a big hit in Kern's greatest musical, Showboat, in the supporting part of Julie LaVerne. She got such raves for that part that a whole show was built around her. I tend to think that she was deep into alcoholism at the time this was done and was not asked to do the film version. Sweet Adeline unfortunately during its run, ran headlong into the Great Depression and had to close.

Irene Dunne carries the film version here and does a remarkable job. She was one of the great Hollywood talents of her time with an exquisite soprano voice for films like these and a good sense of comedy for some of the non-musical parts she did. She performs the standards that Morgan introduced on Broadway as good as Morgan did. Sweet Adeline had two big hit numbers Why Was I Born and Don't Ever Leave Me which are two of the best Jerome Kern ever wrote. Otto Harbach wrote the lyrics.

Unfortunately and I think that this was because Sweet Adeline was a star vehicle for Helen Morgan when originally done, Ms. Dunne was not given a strong leading man. Donald Woods was a competent actor, with all the charisma of dishwater. His best known part in films was in A Tale of Two Cities where he played Charles Darnay where essentially all he had to do was look handsome and earnest. More was required here and Irene could have used Allan Jones who she did Showboat with or if you wanted a non-singer, Cary Grant, Melvyn Douglas, or Spencer Tracy all of whom she did some classic films with.

The rest of the cast was good. Louis Calhern played the villain in the best Snidely Whiplash tradition. His proposition to Irene that he was not interested in marriage to her, just in living together was generations ahead of its time. Ned Sparks and Hugh Herbert perform their usual parts in Warner Brothers musicals and there were some nice turns by Nydia Westman and Joseph Cawthorn as Dunne's sister and father respectively.

Mervyn LeRoy did succeed nicely in capturing the old fashioned flavor of life at the turn of the last century. If you're an Irene Dunne fan this is a must.

While the Spanish-American War rages, aspiring composer Sid Barnett (Donald Woods) is in love with beer garden singer Adeline Schmidt (Irene Dunne). Her father owns the place and prefers war hero Major Day for her. Adeline's sister Nellie runs away to New York City to be an actress with Adeline and Day in pursuit. Meanwhile, Sid's operetta is set to open on Broadway. Sid wants to replace lead singer Elysia with reluctant Adeline. Day is eager to pay for the move.

The music style is far from my taste, but that's not the movie's fault. The meandering story however is its fault. Most of all, I don't like Sid. He's not attentive to Adeline. She is besides herself looking for Nellie. His first instinct should be soothing her worries. Instead, his first instinct is to get her into his show. They often fight and the main reason is usually him not really listening. He just needs to listen to her. He's a child. The whole espionage thing is coming out of left field and I don't know. Quite frankly, I'm fine with Adeline going with Day until he makes that big turn. Of course, Sid is better by comparison, but that bar is very low.