October 04, 2015

Penny Serenade (1941)

  • Release Date: April 24, 1941
  • Production Date: October 14, 1940 - January 15, 1941
  • Duration (in minutes): 118-120
  • Color: B/W
  • Production Company: Columbia Pictures Corporation
  • Production Text: A George Stevens Production
  • Producers: George Stevens and Fred Guiol (associate producer)
  • Distribution Company: Columbia Pictures Corporation
  • Directors: George Stevens and Gene Anderson (assistant)
  • Writers: Morrie Ryskind (screenplay), Martha Cheavens (screenplay consultant) - Based on the short story "Penny Serenade" by Martha Cheavens in McCall's (Aug 1940).
  • Photography: Joseph Walker and Franz Planer 
  • Art Direction: Lionel Banks and Cary Odell (associate)
  • Film Editor: Otto Meyer
  • Set Decoration: Harry Hopkins
  • Dialogue Director: William Castle
  • Sound: Jack A. Goodrich (sound engineer)
  • Music: M. W. Stoloff (musical director), W. Franke Harling (music), Paul Mertz (musical advisor), Sidney Cutner (orchestrator) (uncredited), Carmen Dragon (orchestrator), Leonid Raab (orchestrator)
  • Songs: "You Were Meant for Me," music by Nacio Herb Brown, lyrics by Arthur Freed; "Poor Butterfly," music by Raymond Hubbel, lyrics by John L. Golden; "My Blue Heaven," music by Walter Donaldson, lyrics by George Whiting; "I'm Tickled Pink with a Blue Eyed Baby," music by Pete Wendling, lyrics by Charles O'Flynn; "The Moon Was Yellow," music by Fred E. Ahlert, lyrics by Eric Leslie; "Silent Night, Holy Night," music by Franz Gruber, lyrics by Joseph Mohr, English lyrics, anonymous; "The Missouri Waltz," music by Frederick Knight Logan, lyrics by J. R. Shannon.

Cast (in credits order)
  • Irene Dunne as Julie Gardiner Adams
  • Cary Grant as Roger Adams
  • Beulah Bondi as Miss Oliver
  • Edgar Buchanan as Applejack Carney
  • Ann Doran as Dotty
  • Eva Lee Kuney as Trina (at the age of 6 years)
  • Leonard Willey as Doctor Hartley
  • Wallis Clark as Judge
  • Walter Soderling as Billings
  • Jane Biffle as Trina (at the age of 1 year) (as Baby Biffle)
  • Joan Biffle as Trina (at the age of 1 year) (as Baby Biffle)

Rest of cast listed alphabetically:
  • Stanley Brown as Man (scenes deleted)
  • Bess Flowers as Mother (scenes deleted)
  • Eddie Laughton as Cab Driver (scenes deleted)
  • Adrian Morris as Bill Collector (scenes deleted)
  • Edward Peil, Sr. as Train Conductor (scenes deleted)
  • Grady Sutton as Man (scenes deleted)
  • Dorothy Adams as Mother in Stalled Car (uncredited)
  • Billy Bevan as McDougal (uncredited)
  • Mary Bovard as Girl (uncredited)
  • Lynton Brent as Reporter (uncredited)
  • Jack Buchanon as Minor Role (uncredited)
  • Albert Butterfield ... Boy (uncredited)
  • Henry Dixon as Old Printer (uncredited)
  • Georgia Ellis as Girl (uncredited)
  • Edmund Elton as Minister (uncredited)
  • John Ferguson as Father (uncredited)
  • Diane Fleetwood as Trina as an Infant (uncredited)
  • Judith Fleetwood as Trina as an Infant (uncredited)
  • Charles Flynn as Bob (uncredited)
  • Iris Han as O-Hanna-San (uncredited)
  • Otto Han as Cook Sam (uncredited)
  • Doris Herbert as Minister's Wife (uncredited)
  • Arline Jackson as Girl (uncredited)
  • Payne B. Johnson as Boy in Christmas Play (uncredited)
  • Donald Kerr as Man Dancing at Party (uncredited)
  • Ben Kumagai as Rickshaw Boy (uncredited)
  • Lani Lee as Chinese Waitress (uncredited)
  • Frank Mills as Chubby Printer (uncredited)
  • Frank Moran as Cab Driver at Doorway, New Year's Party (uncredited)
  • Rollin Moriyama as Rickshaw Boy (uncredited)
  • Cy Schindell as Elmer - the Bootlegger (uncredited)
  • Ben Taggart as Policeman (uncredited)
  • Fred Toones as Porter (uncredited)
  • John Tyrrell as Press Operator (uncredited)
  • Beryl Vaughn as Flower Girl (uncredited)
  • Dick Wessel as Joe Connor, Man Dancing with Dotty (uncredited)
  • Lillian West as Nurse (uncredited)
  • Nee Wong, Jr. as Sung Chong (uncredited)

Did You Know?

According to materials contained in the George Stevens papers at the AMPAS Library, Columbia paid $25,000 for the rights to Martha Cheavens' magazine story and hired Cheavens as a script consultant.

Penny Serenade was Stevens' first picture under his Columbia contract.

George Stevens used popular songs to mark the passage of time in the film, and his papers reveal that he spent a great deal of care in selecting the appropriate tunes. In his papers, there are detailed charts listing the chronology of the songs so that the music would be matched to the proper time period. Among the popular songs included in the background score were: "Japanese Sandman," "These Foolish Things," "Just a Memory," "Three O'Clock in the Morning," "Ain't We Got Fun?" and "The Prisoner's Song."

Grant who, according to modern sources, considered his role in Penny Serenade to be his best, was nominated for an Academy Award as Best Actor for his performance.

Irene Dunne often said that this was one of her favorite films because it reminded her of her own adopted daughter.

Third of three movies that paired Cary Grant and Irene Dunne. The other two were The Awful Truth and My Favorite Wife.

Joseph Walker replaced Frank Planer as photographer after an illness forced Planer to withdraw from the project.

Film is in the public domain. Look for the remastered version.

The Daytona Beach Morning Journal Review of Penny Serenade
July 10, 1941

"Penny Serenade" at the Empire

Here is a picture aimed straight at the heart and the tear ducts—and both take a beating. For "Penny Serenade" is strictly a four-handkerchief film. Oh, there are plenty of laughs and good ones and the picture ends on the up-beat, but it's hard to fight off the subtle feeling of impending disaster.

The story is worked out in the flash-back manner with the tunes of yesteryear turning the pages. Irene Dunne and Cary Grant, who have been so charmingly gay in the "The Awful Truth" and "My Favorite Wife," lose none of that charm when disarmed of their wisecracks and fey ways.

They are both marvelous in that most chucklesome scene where they being home the five-week-old baby from the orphanage with "Fragile, handle with care" marked figuratively all over it. And their stage fright at baby's first bath had the audience in plain and fancy stitches.

"Penny Serenade" also gives plenty of footage to that new character actor, Edgar Buchanan, who plays homespun Applejack — I hope we see more of him, but soon.—Liz.

The New York Times Review of Penny Serenade
By Bosley Crowther - May 23, 1941

When you go to the Music Hall this time, take along a couple of blotters and a sponge. In fact, if you are prone to easy weeping, you might even take along a washtub. And don't be disturbed if your neighbor, unprovided, drips and splatters all over you. For this time the comic muse very frequently gives way to tears. This time Cary Grant and Irene Dunne, whose previous cinematic marriages have been more or less on the frivolous and nicely indecent side, are so blissfully and properly united that it takes a tragedy to threaten briefly to tear them apart. This time the new picture is Columbia's "Penny Serenade."

When you think about it coolly and dispassionately—and after an interval of at least an hour—you can't help but feel that somebody has slipped a fast one over on you. Maybe it is Producer George Stevens, who has put together a film which employs not one but six or seven of the recognized sob-story tricks. Maybe it is Miss Dunne, who originally succumbs to one of the most severe cases of galloping nostalgia we have ever witnessed on the screen. And maybe it is Mr. Grant, that worldly and jocular chap, who shamelessly permits a tiny tot to play "Home, Sweet Home" on his heart-strings. The thing is you never suspect these people are going quite so soft on you until—bam!—they are wallowing in sentiment and your eyes are leaking like a sieve.

But that's the way it is. From the moment that Miss Dunne sadly turns on the old gramaphone and, to the plaintive strains of "You Were Meant for Me," the scene fades back to her first meeting with Mr. Grant, you may recognize that you are in for a reminiscent wrench. Then, as she successively replenishes the music box with such nostalgic tunes as "Just a Memory," "Missouri Waltz," "Poor Butterfly," "Blue Heaven," etc., right out of a book, you follow the couple as they marry, suffer countless little woes, buy a country newspaper, adopt a baby and finally lose the child they love so much.

And slowly, without being aware of it, you drift with them and the film from brittle, sophisticated comedy to out-and-out softy stuff, from the quixotic plighting of their troth at a New Year's Eve party to the first fearful bathing of baby in the familiar new-parents comedy vein. And then you are sniffling and gulping as little daughter takes part in her first school play and you know that the teacher's promise that she can be "an angel next year" is irony. Somehow, it all goes down, despite a woefully overlong script—all but Mr. Grant's recalcitrance after the little one is gone. It's hard to believe that a man could treat his ever-loving wife so wretchedly, at a time when both would be drawn even closer together by grief. And their sudden joyful willingness to adopt another child is open to doubt.

But some very credible acting on the part of Mr. Grant and Miss Dunne is responsible in the main for the infectious quality of the film. Edgar Buchanan, too, gives an excellent performance as a good-old-Charlie friend, and Beulah Bondi is sensible as an orphanage matron. Heart-warming is the word for both of them. As a matter of fact, the whole picture deliberately cozies up to the heart. Noel Coward once drily observed how extraordinarily potent cheap music is. That is certainly true of "Penny Serenade."

PENNY SERENADE, screen play by Morrie Ryskind; based on the story by Martha Cheavens; produced and directed by George Stevens for Columbia Pictures. At the Radio City Music Hall.
Julie Gardiner . . . . . Irene Dunne
Roger Adams . . . . . Cary Grant
Miss Oliver . . . . . Beulah Bondi
Applejack . . . . . Edgar Buchanan
Dotty . . . . . Ann Doran
Trina, aged 6 . . . . . Eva Lee Kuney
Doctor Hartley . . . . . Leonard Willey
Judge . . . . . Wallis Clark
Billings . . . . . Walter Soderling
Trina, aged 1 . . . . . Baby Biffle

Variety Review of Penny Serenade
By Variety Staff - April 16, 1941

Irene Dunne and Cary Grant, who a short time ago had audiences howling at their antics in "The Awful Truth," return to the Columbia banner in "Penny Serenade," and the same customers are going to have just as fine a time sniffling and weeping over a very sentimental story about husband, wife and adopted child.

Exhibitors would be smart to furnish handkerchiefs at the box office.  Incidentally, they had better lay in a big supply.  This is the best tear-jerker that has come to the screen since the first production of "Madame."  And that's going way back.

Produced with less skill and acted with less sincerity, "Penny Serenade" might have missed the mark by a mile, but George Stevens' direction and the excellence of the stars' playing make the film an entry for top bookings and extended first runs.  It is fashioned for the family trade everywhere, with special matinee appeal.  The characters are young home folks and could be duplicated in an instant from any local phone book.

Here's the story. Miss Dunne and Grant adopt a six weeks old baby and raise her until she is six, when she dies, after a brief illness.  Then they adopt a boy of two.

That's all, but the telling of it from an excellently written screenscript by Morrie Ryskind, who found inspiration from a McCall's Magazine story by Martha Cheavens, occupies nearly two hours, in the course of which there are tenderness, heart-throb, comedy and good, old-fashioned, gulping tears.  Half a dozen times the yarn approaches the saccharine, only to be turned back into sound, human comedy-drama.

Film marks the return of Miss Dunne after an extended vacation, the only effects of which seem to be that she proves again her place among the handful of women screen stars.  In the role of not too prosperous wife of a small-town struggling newspaper publisher, she is gay and earnest, and plays the sentimental passages with restraint.  She has had more spectacular roles, but none that required sustaining quite the mood of her latest film.

Grant, also, takes the assignment in stride, scoring in several bits as a baby nurse and pleading foster-father.

Supporting cast includes Beulah Bondi, Edgar Buchanan and Ann Doran.  Despite the tuneful title, the only melody heard is via a few phonograph platters.

Film should turn out to be a serenade of quarters at the box-office.

Complete Plot Summary of Penny Serenade

Don't want to spoil anyone's fun by posting a complete plot summary of the film. Click here to read one.

Penny Serenade on the Radio

"Penny Serenade" on General Electric Theater: July 23, 1953 - Irene Dunne

"Penny Serenade" on The Hallmark Playhouse: July 1, 1948 - Frances Robinson, Gerald Mohr, Frank Lovejoy, Margaret MacDonald, Ed Begley, Anne Whitfield

"Penny Serenade" on Lux Radio Theatre: April 27, 1942 - Robert Taylor, Barbara Stanwyck, Beulah Bondi, Edgar Buchanan

"Penny Serenade" on Lux Radio Theatre: May 8, 1944 - Irene Dunne, Joseph Cotten, Edgar Buchanan

"Penny Serenade" on The Screen Guild Theater: November 16, 1941 - Cary Grant, Irene Dunne

Watch Penny Serenade

October 02, 2015

Love Affair (1939)

  • Release Dates: March 16, 1939 (New York City) and April 7, 1939
  • Production Date: October 6, 1938 - November 29, 1938; and December 13 to late December 1938 Duration (in minutes): 87 or 89
  • Production Company: RKO Radio Pictures, Inc.
  • Production Text: A Leo McCarey Production
  • Distribution Company: RKO Radio Pictures, Inc.
  • Directors: Leo McCarey and James Anderson (assistant)
  • Writers: Delmer Daves (screenplay), Donald Ogden Stewart (screenplay), Mildred Cram (story), Leo McCarey (story) and S. N. Behrman (contributed to screenplay)
  • Photography: Rudolph Maté
  • Art Direction: Van Nest Polglase and Al Herman (associate)
  • Film Editors: Edward Dmytryk and George Hively
  • Set Decoration: Darrell Silvera
  • Costumes: Howard Greer (gowns) and Edward Stevenson (gowns)
  • Special Effects: Vernon L. Walker (special effects), Douglas Travers (montage)
  • Makeup: Mel Berns (makeup artist)
  • Sound: John L. Cass (recordist)
  • Music: Roy Webb (musical score), Robert Russell Bennett (orchestrator), David Buttolph (orchestrator), George Parrish (orchestrator) and David Raksin (orchestrator)
  • Songs: "Wishing," music and lyrics by B. G. DeSylva; "Sing My Heart," music and lyrics by Harold Arlen and Ted Koehler.


  • Irene Dunne (Terry McKay)
  • Charles Boyer (Michel Marnet)
  • Maria Ouspenskaya (Grandmother - Mme. Marnet - Janou or Manou)
  • Lee Bowman (Kenneth Bradley)
  • Astrid Allwyn (Lois Clarke)
  • Maurice Moscovich (Maurice Cobert)
  • Scotty Beckett (Boy on ship)
  • Bess Flowers (Couple on deck)
  • Harold Miller (Couple on deck)
  • Fred Malatesta (Shipboard photographer)
  • Bert Moorhouse (Shipboard passenger)
  • Henry Norton (Shipboard passenger)
  • Gerald Mohr (Man)
  • Joan Brodel (Joan Leslie) (Autograph seeker)
  • Mary Bovard (Autograph seeker)
  • Phyllis Kennedy (Annie, Terry's maid)
  • Dell Henderson (Cafe manager)
  • Carol Hughes (Nightclub patron)
  • Leyland Hodgson (Doctor)
  • Lloyd Ingraham (Doctor)
  • Frank McGlynn Sr. (Superintendent of the orphanage)
  • Oscar O'Shea (Priest)
  • Ferike Boros (Terry's landlady)
  • Tom Dugan (Drunk with Christmas tree)
  • Robert Mitchell Boys Choir (Choir)

The film received Academy Award nominations in the following categories: Best Picture; Best Original Story (Mildred Cram and Leo McCarey); Best Actress (Irene Dunne); Best Supporting Actress (Maria Ouspenskaya); Best Interior Decoration (Van Nest Polglase and Al Herman); and Best Song ("Wishing").

Love Affair was remade by Leo McCarey for 20th Century-Fox in 1957 as An Affair to Remember, with Cary Grant and Deborah Kerr. It was also remade by Glenn Gordon Caron in 1994 as Love Affair, starring Warren Beatty, Annette Bening and, in her last feature film appearance, Katharine Hepburn. A 1999 Bollywood movie, Mann, was made based on the same storyline.

Did You Know?

The working title for this film was Love Match.

Terry McKay was based on a woman Delmer Daves met on a ship returning from Europe. The woman was reportedly wisked off to Europe to stave off a scandal resulting from her affair with a government official in a small town.

Of all the films they made, Love Affair was the favorite of both Charles Boyer and Irene Dunne.

"Wishing" became one of the most popular songs of 1939.

After this movie was released restaurants were suddenly bombarded with requests for pink champagne.

Astrid Allwyn, who plays Boyer's heiress fiancé, also appeared in the unrelated film Love Affair (1932), starring a young and relatively-unknown Humphrey Bogart.

Opening credits are on pages of a book, through which someone is paging.

In 1967, the film entered the public domain (in the United States) due to the claimants' failure to renew its copyright registration in the 28th year after publication. Because of this, the film is widely available on home video and online.


Terry McKay: The things we like best are either illegal, immoral or fattening.

Terry McKay: How's your fiancee?
Michel Marnet: She's got a cold.
Terry McKay: Oh, that's too bad. Got it at Lake Como?
Michel Marnet: No, she wasn't there.
Terry McKay: Uhh... , Uh, you mean the Lady of the Lake was not...
Michel Marnet: [Shakes head] That was her best friend.
Terry McKay: Oh.
Michel Marnet: [Another shake, and grimace]
Terry McKay: Chummy bunch.

Terry McKay: What are you trying to say, Michel?
Michel Marnet: I'm trying to say that it would take me six months to find out if I'm worthy to say what's in my heart.
Terry McKay: Oh, that's just about the nicest thing...

The New York Times Film Review of Love Affair

'Love Affair,' a Bitter-Sweet Romance, Opens at the Music Hall
By Franks S. Nugent
Published: March 17, 1939

Leo McCarey, who directs so well it is almost anti-social of him not to direct more often, has created another extraordinarily fine film in "Love Affair," which the Music Hall brought in yesterday. Like other McCarey pictures, this one has the surface appearance of a comedy and the inner strength and poignance of a hauntingly sorrowful romance. It is a technique or a mood-creation developed, we suspect, out of Mr. McCarey's past experiments, ranging from "Ruggles of Red Gap" through "Make Way for Tomorrow" to "The Awful Truth." The formula would be comedy plus sentiment plus X (which is Mr. McCarey himself) equal such things as "Love Affair."

As co-author, director and producer, he must be credited primarily for the film's success, but almost as large a measure of acknowledgment belongs to Irene Dunne and Charles Boyer for the facility with which they have matched the changes of their script—playing it lightly now, soberly next, but always credibly, always in character, always with a superb utilization of the material at hand. Scarcely less effective has been the contribution of the small supporting cast: Maria Ouspenskaya, Lee Bowman, Astrid Allwyn, Maurice Moscovich and the few bit players who have added their priceless touches of humor and pathos.

The love affair Mr. McCarey and his company are considering is the unexpectedly idyllic romance between the jaded man of the world, Michel Marnay, and the younger, but almost equally skeptical, Terry Mackay. Both of them were affianced elsewhere, not exactly for money (although that was part of the picture), but because they reasoned they might as well marry money if they had to marry at all. Then, suddenly, they met on shipboard, flirted since it amused them, parted unheroically when it occurred to them that news of an indiscretion might reach the ears of their respective future mates, and discovered, almost as surprisingly, that they were in love.

It is a discovery apt to alter the behavior of a couple of people who had been playing with life. Subtly, Mr. McCarey alters his style to meet the emergency. He finds it amusing that Michel should become a sign-painter, Terry a night club singer as they put themselves on probation for six months to determine whether they are worthy of marriage. But he finds it touching, too. And, although he keeps reminding himself (and his audience) that life is a comedian, he finds tragedy in the accident that overtakes Terry on her way to the marriage rendezvous and pity in the misunderstanding that keeps his lovers apart so long.

In a sense, his film is a triumph of indirection, for it does one thing while seeming to do another. Its immediate effect is comedy; its after-glow is that of a bitter-sweet romance. A less capable director, with a less competent cast, must have erred one way or the other—either on the side of treacle or on that of whimsy. Mr. McCarey has balanced his ingredients skillfully and has merged them, as is clear in retrospect, into a glowing and memorable picture.

LOVE AFFAIR, from a story by Mildred Cram and Leo McCarey; screen play by Delmer Daves and Donald Ogden Stewart; music and lyrics by B. G. DeSylva, Harold Arlen and Ted Koehler; directed and produced by Mr. McCarey for RKO Radio. At the Radio City Music Hall.
Terry Mackay . . . . . Irene Dunne
Michel Marnay . . . . . Charles Boyer
Mme. Marnay . . . . . Maria Ouspenskaya
Kenneth . . . . . Lee Bowman
Lois . . . . . Astrid Allwyn
Cobert . . . . . Maurice Moscovich
(Please note: The names of the characters are misspelled in the review. Mackay is actually spelled McKay. Marnay is actually spelled Marnet.)

Leo McCarey, Charles Boyer, Irene Dunne

Variety Film Review of Love Affair

Variety Staff - December 31, 1938

Leo McCarey’s initial production for RKO as a producer-director offers an entirely new approach to accepted technique. Basically, it’s the regulation formula of boy-meets-girl (story by McCarey and Mildred Cram). But first half is best described as romantic comedy, while second portion switches to drama with comedy.

Aboard boat sailing from Naples to New York, Charles Boyer starts a flirtation with Irene Dunne. He is engaged to heiress Astrid Allwyn, and she to Lee Bowman. They separate on docking with pact to meet six months later atop the Empire State building.

Dunne slips to Philadelphia to sing in a night club, while Boyer applies himself to painting. While on her way to keep tryst on appointed day, Dunne is injured in a traffic accident. Faced with life of a cripple, girl refuses to contact Boyer to explain.

Dunne is excellent in a role that requires both comedy and dramatic ability. Boyer is particularly effective as the modern Casanova. Maria Ouspenskaya provides a warmly sympathetic portrayal as Boyer’s grandmother in Madeira.

Reading Eagle Film Review of Love Affair

Dramatic Love Story at Park
Published: April 8, 1939

A romance moratorium at six months, designed to prove that two people are worthy of each other's love, is the basis for much of the drama in "Love Affair," co-starring Irene Dunne and Charles Boyer, at the Park. The story traces the lives of a sophisticated young lady and a Continental heart-breaker who fall in love on board a liner bound for New York, where a fiancé and a fiancée are waiting. Reluctant to forsake their chance at happiness with this one great love, the two break off the prior betrothals and embark on a six-month trial during which they give up their lives of ease for worthy careers, agreeing to meet on a given day to learn if their love has weathered the mutual sacrifice. A minute before the eventful meeting, however, destiny intervenes, making the young lady the victim of an auto accident. Believing she is permanently injured, she disappoints her lover, feeling her disabled condition may be an insuperable obstacle to their happiness. The evolution of this intriguing situation mounts to a touching, heart-tugging finish. Directed for RKO Radio by Leo McCarey, "Love Affair" features Maria Ouspenskaya, Lee Bowman, Astrid Allwyn and Maurice Moscovich in Irene Dunne and Charles Boyer's support.

Leonard Maltin Review

D: Leo McCarey. Irene Dunne, Charles Boyer, Maria Ouspenskaya, Lee Bowman, Astrid Allwyn, Maurice Moscovich, Joan Brodel (Leslie). Superior comedy-drama about shipboard romance whose continuation on-shore is interrupted by unforseen circumstances. Dunne and Boyer are a marvelous match. Screenplay by Delmer Daves and Donald Ogden Stewart, from story by Mildred Cram and Leo McCarey. Remade by McCarey as An Affair to Remember, and a second time (by Warren Beatty). Beware public domain copy with entirely new music score.

Meredy's Thoughts

My mother hooked me on classic films when I was a kid. She introduced me to An Affair to Remember when I was six or seven. By the time I was grown, I had seen it so often that I practically knew the script by heart.

I learned as a teen from one of my tons of film books that An Affair to Remember was a remake of Love Affair. In those days, there weren't any VCRs or DVRs. In fact, cable wasn't available in my area until I was 13 or so. We had a rooftop antenna and only received our local ABC station clearly. We also received CBS and NBC with snow. My choices for viewing classic films (weekends only) were the Late Show, the Late, Late Show, Million Dollar Movie and Sunday Afternoon at the Movies.

Thank goodness Love Affair was shown one Saturday night on the Late Show. When I saw the listing in TV Guide, I did a happy dance. It was an event. Mom and I baked a Chef Boyardee pizza (a must-try once in your life) and made super buttery popcorn (electric popcorn popper with oil and kernels, add the butter and salt after popping). We didn't have microwaves back then. Dad bought us Sun Drop soda pop as a treat. Yes, Sun Drop was a treat in the Stone Age.

My father, a John Wayne film buff, was definitely not into love stories. He ate a couple slices of pizza, a little popcorn and fell asleep in his chair.

Mom and I settled comfortably on the couch, munched, slurped and watched the flick. During commercials we discussed the portion of the film we had just viewed and became silent when the movie came back on.

I was surprised that she preferred Cary Grant and Deborah Kerr to Charles Boyer and Irene Dunne because we usually agreed on our film likes and dislikes.

The one thing we did agree on was our preference of Cathleen Nesbitt over Maria Ouspenskaya as the grandmother. Maria Ouspenskaya is too "gremlin-ish-looking" (my own word) to be Charles Boyer's grandmother. On the other hand, Cathleen Nesbitt is a classy-looking dame that could have been grandmère to Cary Grant.

When 1994's Love Affair came out, Mom and I were not excited. We both detest Warren Beatty. We saw it when it went to video and disliked it immensely. Even the great Katharine Hepburn couldn't save it.

Music from Love Affair

"Plaisir d'amour" (literally "the pleasure of love") is a classical French love song written in 1784 by Jean-Paul-Égide Martini (1741–1816); it took its text from a poem by Jean-Pierre Claris de Florian (1755–1794), which appears in his novel Célestine. Performed by Irene Dunne with Maria Ouspenskaya playing piano. Played often in the score.

"Sing My Heart" is a song composed by Harold Arlen, with lyrics written by Ted Koehler. It was written in 1939 for the movie Love Affair and first sung by Irene Dunne.

"Wishing (Will Make It So)" is a song written by George Gard "Buddy" DeSylva. It was written in 1939 for the movie Love Affair and first sung by Irene Dunne and the Robert Mitchell Boys Choir.

Love Affair on the Radio

Lux Radio Theatre
(April 1, 1940) :59:49
Irene Dunne and William Powell

Lux Radio Theatre
(July 6, 1942) :58:03
Irene Dunne and Charles Boyer

The Screen Guild Theater
(January 5, 1941) :30:25
Madeleine Carroll and Melvyn Douglas

The Screen Guild Theater
(October 11, 1943) :29:38
Herbert Marshall, Virginia Bruce, Luis Alberni

Theater of Romance
(December 11, 1945) :25:10
Van Johnson, Susan Peters, Lou Merrill

Watch Love Affair