A Mulher que Eu Quero

Adaptation of Charles MacArthur's short story "A New York Cinderella" has Spencer Tracy cast as a barrios doctor (so committed to his work that he spends his vacation doing medical research!) who saves Park Avenue beauty Hedy Lamarr from shipboard suicide. Once in New York City, she locates him (eating in a cafeteria!) and discovers his neighborhood hospice is the perfect place for her to recover and take stock of her life. Their eventual marriage (which appears platonic in nature, with barely a kiss between them) isn't fraught with many anxieties, and a subsequent move uptown seems to make them both happy, but the scenarists have invented a "former flame" for the woman who turns up at every restaurant and nightclub she goes to. This poor man is just a plot device (a bad one), unconvincingly written and only present to give the good doctor some doubts. Yet, if the movie goes out of its way to cause cracks in the marriage, it bends over backwards to give the two principals a happy ending (one that must be seen to be believed). It raises a happy tear or two, though the movie is so flimsily constructed and rudderless, it evaporates from memory before you can even recall the title. Tracy--playing both doctor and daddy to Lamarr--throws away much of his dialogue (charmingly), holding together most of the picture even as its fairy tale plotting takes the slow boat to China. **1/2 from ****

The film is pleasant enough, with Tracy and Laraine Day. But Hedy, was a jewel. That opening scene where she is in her satin gown, with that perfect figure, contemplating suicide, was really a sight. I squirmed when Tracy had to sock that gorgeous puss, in order to prevent her suicide, as if anyone would want to disfigure that face. Being Italian, when she had to speak it to a distraught Italian women, the words were very authentic. I thought she was really Italian, until later I found out she mastered 6 languages. No wonder she had the brains to invent that product for guiding torpedo's during the war, and now put to use in cell phones. Some reviewers here made comments that Tracy and Lamarr didn't get along...that is not true. In fact, they made 2 other movies together after this. If there was a problem, Tracy had enough clout to tell MGM, he would not make another movie with Lamarr. The word got around that Hedy was new to American movie making, and also, new to the English language. Read Chas. Boyer bio where it is said that there were problems with her English in "Algiers", so they limited her dialogue. But as we all know, Hedy mastered the language as well as 5 others... .but the problem with Tracy was that she couldn't grasp Tracy's mumbling and fast talking as he has shown in so many of his movies. Imagine if she had to appear with Brando, the king of mumblers. There is a candid photo of them together during recess of making "Tortilla Flat"...a very intimate scene...on Ebay. See this movie for the jeweled Hedy.

I adore Hedy Lamarr. I think she was vastly underrated as an actress during the 40s. She was the Nastassja Kinski of that era, and critics didn't take her seriously. Having said all that...this film is a BORE. When I watched it for the first time, I was shocked at the lack of continuity, not only in story, but in makeup and costumes. Hedy's makeup changes from shot to shot. So does hair length and style. Reason: This thing had so many writers and underwent so many stops and starts it's amazing they ever released it at all. Her "Lady of the Tropics" began filming AFTER this one began, yet it was released before "I Take This Woman." In fact, at the time, it was known in Hollywood as "I Re-Take This Woman." That should tell you something. I'm a Spencer Tracy fan as well, but he is AWFUL here. I've read in various film histories that he absolutely despised Hedy Lamarr, and that looks perfectly obvious on film. NO chemisty whatsoever. The story wanders around for reel after reel and finally just rolls to an end very strangely. I can't recommend this one at all.

Without planning them as such, I ended up watching a Wallace Beery and Spencer Tracy double-bill on consecutive days; in fact, this follows Tracy's QUICK MILLIONS (1931) and Beery's SERGEANT MADDEN (1939) and PORT OF SEVEN SEAS (1938) – see their reviews elsewhere.

Incidentally, in my comments on MADDEN, I had written that it was Josef von Sternberg's only picture on the MGM lot but, actually, he had been entrusted with the title under review as well – only he somehow got fired…and the same fate apparently befell his replacement (Frank Borzage), since a third director (W.S. Van Dyke, here denoted as "II") ended up receiving sole credit for it! For this reason, the film is a fairly maligned one but the result is surprisingly not as despicable as I had anticipated (incidentally, my twin brother had previously watched it as a Saturday matinée' on Italian TV years ago but could not recall what he had made of the picture back then); truth be told, I had completely forgotten about the Sternberg connection but, thankfully, managed to acquire it in time for my current retrospective of that director's work.

The narrative is typical MGM 'mass appeal' fare: a romantic melodrama boasting sophisticated trimmings but maintaining a social conscience (from a story by Charles MacArthur and an uncredited Ben Hecht). A tall order, therefore, and working one's way around it would have probably defeated any film-maker (not least in the icky finale involving a number of children); given the amount of time and money spent on the production – so much so that it was derisively referred to as "I Re-Take This Woman"! – it is small wonder, then, that it eventually ended up in the lap of the legendary "One-Take" Woody (Van Dyke)! As I said, however, the film is enjoyable enough (indeed, it gets by on sheer professionalism alone!) when not lapsing into pathos (with the medical expose' at the center of the last act, it does seem like the makers were trying to bite off more than they could chew!).

Anyway, Tracy brings his customary intelligence to the fold, while leading lady Hedy Lamarr supplies the glamor (for the record, the two stars would be reteamed soon after in BOOM TOWN [1940] and, again, in TORTILLA FLAT [1942]). He is a doctor with a modest practice who runs into a lovelorn socialite aboard ship (at least in this the picture resembles Sternberg's THE DOCKS OF NEW YORK [1928], with which it also happens to share cinematographer Harold Rosson!). Their life together is fraught with complications relating, first and foremost, to her persistent attachment to a married gigolo (played by the bland Kent Taylor, replacing Walter Pidgeon!) but also his 'defection' to an upper-crust hospital; incidentally, Sternberg's appointment would seem to have aimed at endowing Lamarr with a Dietrich-like mystique (a vaguely weird scene has the woman's lover keep a private shrine in her honor!). The supporting cast is notable too: Verree Teasdale (as Lamarr's fashion-designer best friend, a garrulous sort in the Rosalind Russell vein), Paul Cavanaugh (forever epitomizing high society), Frances Drake (from MAD LOVE [1935], as the latter's alluring but venomous companion), Laraine Day (from SERGEANT MADDEN, as his rebellious daughter), Louis Calhern (as Tracy's unscrupulous boss when he comes up in the world), Jack Carson (as one of his many patients – despite a one-shot appearance, his credit suggests much of the role ended up on the cutting-room floor!) and Willie Best (again, a stereotyped characterization as the hero's lazy black janitor Sambo!).

I liked this movie; it's one of those sentimental movies I like to watch late at night. The reason this film works is Hedy Lamarr. She is a jewel. Naive and vulnerable, she makes bland look exotic. The plot is classic Hollywood melodrama. Spencer Tracy plays the fatherly role he often plays. Their chemistry together is questionable. But I think the key to the romance of this movie is the portrayal of each character's individual experience of love and infatuation, and how obsessive love is not about the relationship but how each person feels. For this reason Tracy and Lamarr's purported disconnect off the set may work to the film's advantage.