Consolation Marriage by Kim Luperi
I will watch the effervescent Irene Dunne in anything, no matter the role—especially if it’s a pre-Code or comedy; she exudes a natural charm that makes her performances satisfying. So, choosing to view CONSOLATION MARRIAGE (’31), an unfamiliar pre-Code dramedy, was a no-brainer for me. In the movie, Mary (Dunne) and Steve (Pat O’Brien) befriend each other while wallowing in misery after their respective sweethearts marry others. Their shared heartbreak and burgeoning friendship lead them into matrimony… on the condition that they are free to see other lovers, which makes things interesting as their feelings develop and their exes re-enter their lives.
Aside from my self-professed love for Dunne, I appreciated this movie’s progressive portrayal of relationships before the inevitable happy ending, and I actually found the movie more enjoyable than anticipated, given its rather mediocre reviews from modern audiences. In fact, surprises abounded both within CONSOLATION MARRIAGE and outside the film, specifically having to do with O’Brien and Dunne’s chemistry and the movie’s censorship history.
The unexpected commenced right when I spotted O’Brien’s name. ‘What an odd pairing,’ I thought. At the time, I was more familiar with the actor in tougher, snarkier roles (1933’s BUREAU OF MISSING PERSONS, for instance) and had never thought of him as a romantic lead. Well, CONSOLATION MARRIAGE changed that, as O’Brien’s easy rapport with Dunne made them an absolutely delightful pair. Though classified as a drama, certain scenes in the picture, many occurring before they wed, played with a frothier air, which is where the leads’ wit shined and their chemistry became palpable—it really seemed like they were pals just having a grand old time. (Incidentally, Dunne and O’Brien were friends in real life, and Dunne was even godmother to O’Brien’s son, Terry.) To be honest, without Dunne and O’Brien’s proficiency in both drama and comedy, I’m not sure the script’s swings in tone or occasional sappiness would be as palatable as I perceived them to be.
Another revelation came with the fact that both Dunne and O’Brien made their Hollywood debuts in 1930, one year before CONSOLATION MARRIAGE hit theaters. Despite this movie receiving mixed reviews, outlets such as The New York Times and Film Daily made mention of the picture’s human quality, a point I would give credit for to the story, direction and certainly Dunne and O’Brien, who skillfully imbued their characters with those attributes so early in their respective careers.
An additional surprise arose when I opened the film’s Production Code Administration (PCA) file at the Academy’s Margaret Herrick Library. With adultery an expected outcome to this marriage of convenience, I was sure the Studio Relations Committee (SRC), the precursor to the PCA, would have cautionary words for this movie; I mean, doesn’t the fact that they invite each other to have an affair disrespect the sanctity of marriage? I guess not, because to my shock, no issue was taken with the portrayal of matrimony. In fact, the office bestowed the film a glowing review: “This picture is utterly charming from start to finish. The dialogue is fresh, amusing, whimsical while beneath this surface flippancy lies a human and appealing story made more real and vivid by the sincerity of the acting. Family audience.” Ironically, the movie faced more heat over the fact that verbiage pertaining to childbirth was so direct. The office recommended to edit the lines “We had a baby last week” and “You’re having a baby,” indicating the SRC found this natural, normal marital occurrence more insidious than the sham union of the central plot. It seems that the censors were blinded by the film’s charm; the characters could talk the talk, but since they didn’t walk the walk and eventually came around and respected their bond in the end, it was all good… apparently.
CONSOLATION MARRIAGE is by no means a perfect picture—the whole situation is a bit contrived, there are lulls in pacing and some maudlin dialogue—but the movie took me by surprise, and I was utterly taken with the charms of the performers, particularly Dunne and O’Brien. And to me, that’s usually worth more than textbook perfection.
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