Théodora devient folle

Irene Dunne plays Theodora, a straight-laced young woman living with her two spinster aunts in a prudish small town, who just happens to be the secret author of a scandalous and best-selling series of romance novels. When the illustrator for her books, played by the always engaging Melvyn Douglas, figures out her secret, he blackmails her into giving him a job as gardener just so he can be close to her. When the town's gossip mongers become too much to bear, and Douglas takes off after her declaration of love, Theodora decides she's tired of being straight-laced and goes wild.

Dunne and Douglas have a lot of chemistry in this, and even if the movie overall doesn't make much sense (what screwball romance ever did?), the two of them keep it fun and energetic. I'm not sure Dunne's performance warranted the Oscar nomination she received, and I don't know what in the world the Academy was thinking to nominate the movie for its editing, but it's a solid comedy from the old days.

Grade: B+

This is one of my favorite screwball comedies -- a very smart movie with a sharp screenplay that never lags. In the same subversive spirit as Miracle of Morgan's Creek (another favorite film) - and builds to a similar stunning, hilarious, code-breaking climax. The script is beautifully structured and the performances are all terrific -- it's Irene Dunne's best film, and Elizabeth Risdon is wonderful in a smaller role as the aunt. Very underrated, don't miss it (check out James Harvey's insights on the film in his marvelous book, "Romantic Comedy").

The first time I ever saw this was my introduction to Irene Dunne. She is one of the greatest actresses in the history of American movies and never better than she is here. ("The Awful Truth" is virtually flawless and she may be more polished in it. But she is a true revelation here.) The story involves hypocrisy, puncturing it, overcoming inhibitions, being decent in a true sense rather than according to a pre-prepared code.

Dunne is a rather frumpy woman from a small town who has written a scandalous novel under a pseudonym. She sneaks off to her publisher in Manhattan, with a visit to her reprobate uncle, now and again. And this time she is swept off her feet by Melvyn Douglas (a little too madcap initially.) She sheds her alias after he's come to her town to woo her. She returns to New York, only to find him as stuffy as her elderly aunts and their friends. (These ladies are portrayed delightfully by actresses including Spring Byington and Elizabeth Risdon.) She really does go wild -- not just dumping her modest clothes for feathers and chic hats but turning up at all the best parties. And embarrassing people who have presented themselves as liberated.

Dunne was not a beautiful woman. Sometimes she looked pretty and sometimes not really even too pretty, though she wore clothes well. But she was an extraordinary film actress. Her range was broad and her hits included many women's pictures, several comedies (including "Joy of Living," dismal through no fault of her own.) And she played Magnolia in my favorite of all movie musicals: "Showboat," which came out this same year.

Theodora Goes Wild is perhaps the greatest sleeper in film history. When other comedies such as Midnight, Lady Eve, It Happened One Night, and especially the over-rated Bringing Up Baby are touted with 4 star ratings, this relatively unknown gem sweeps them all away in its irresistible path. One of the finest comedies ever filmed, this is a masterpiece in every way. The direction is superb, the writing sparkles with a wit that time has not dimmed. But the frosting on its cake is the comic genius of Irene Dunne, one of Hollywood's most underrated actresses. This, her first real comedy, is an object lesson to any aspiring comedienne, so perfect is her timing and delivery of virtually every line. This film should be studied by every student in the field of film and enjoyed by countless others who have never even heard of it. It's too bad that Irene Dunne is not given the credit she truly deserves. My bet is that in 50 years she will be considered perhaps the finest Hollywood actress of her time. If you think I'm joking, just watch her in Back Street, Love Affair (much better in my opinion than its more popular remake Affair To Remember), Show Boat, I Remember Mama, this film, The Awful Truth, A Guy Named Joe, Anna and The King of Siam, Life With Father, Ann Vickers........

I saw this movie for the first time a few days ago. I've heard and read a lot about it, and know that it is considered one of the top screwball comedies of the '30s. Unfortunately, I can't figure out why.

I actually like Irene Dunne, and always thought that Melvyn Douglas was in the same league with William Powell when it came to glib, sophisticated comedy, so I was all set to enjoy this one. But about a quarter of the way through it, I found myself asking, "When is this thing going to get funny?" The subject matter--how the reactionary, repressive mentality of a clique of small-town religious zealots stifles any kind of individual creativity at all--is more suited to a drama than a comedy, and I think this film would have actually worked better as a drama with some comedy thrown in, which both Dunne and Douglas were more than capable of, than just as a comedy alone, which it really isn't. There are a few amusing moments in it, but not nearly enough to be classified as a "screwball" comedy. Thurston Hall is his usual amusing, blustery self, and Spring Byington is good as the town's two-faced gossip, but that's about it. Dunne and Douglas try hard, but they're just not given much to work with.

I know that a lot of people think this film is on a par with "Nothing Sacred", "My Man Godfrey" or "Twentieth Century," but I just can't see it.