It takes a brave
celebrity couple to star in a movie called I Want a Divorce,
especially if they are married in real life and the subject of
regular magazine coverage regarding their glamorous relationship.
Joan Blondell and Dick Powell were one such couple and were half way
though an eight year marriage when the movie came out in 1940. Luckily
the reviews were so bad that the film quickly disappeared into
obscurity to the point that when they eventually divorced in 1944 it
was a long forgotten footnote rather than a punchline. Still, a married couple even
entertaining the notion of a movie with such a title in the
notoriously relationship fickle world of Hollywood was surely just
asking for trouble.
I Want a Divorce
is a strange little film that knows exactly what it wants to say but
can’t settle on the right way to go about saying it. It advertises
itself as a rip-roaring comedy (“A Lovable Wise-Cracking Comedy
Drama!!” declares the poster) but in execution resembles a
particularly pious Public Service Announcement. It’s ninety minutes
of half-hearted attempts at comedy competing with a dreary, bad tempered atmosphere of moralising in which every character is affected in some way by the demon
divorce and most come out of it losing someone they hold dear, if not
more.
The mood is set with
the first scene as Joan Blondell’s character Geraldine walks
through the divorce courts looking for the room where her sister is
campaigning to ditch her husband and have the sort of carefree
lifestyle she has always desired. As Joan walks through the halls we meet
a litany of miserable broken families, from a young girl screaming
“You think dad’s a heel but that doesn’t make me believe it!”
(Her mother’s touching answer: “Oh shut up!”), to a little boy
wailing “I don’t wanna live with you, I want my mommy!”). When
she arrives at the right courtroom we see her sister Wanda, played
with impeccable disdain by Gloria Dickson proclaim that she wants a
divorce because her husband’s occasional criticism has caused her
public humiliation (“He also criticised my clothes!”). Her lawyer
sums up that this despicable act has caused her “great mental
anguish, seriously endangering (her) health”. Divorce granted, next
case!!
All that was needed was
perhaps the wailing sounds of motherless babies cast aside by their
divorce happy parents accompanied by the sounds of lawyers counting
their money and the intended picture of a modern day Bedlam would be
achieved. Divorce is bad. Divorce breaks up families. Divorce makes everyone
miserable. Okay, we get it. So, when exactly does the lovable wise-cracking
comedy start?
Next we meet
the rest of Geraldine and Wanda’s family, namely their grandparents
and Wanda’s son David. These characters are used to hammer home the
message even more as the grandparents have been married forever and
have endless nuggets of homespun wisdom to impart about the sanctity of
marriage, while the son is supposed to be an adorable young scamp (he's not) whose innocence is in peril by the actions of his selfish mother.
Even the now ex-husband David (played with a dignified restraint by
Conrad Nagel) comes across as a good and loving parent brought down
by Wanda’s actions and lifestyle. Inappropriately, Grandma starts
her sermonising the minute the sisters get back from court, telling Geraldine "Divorces don't take long these days. What should I be saying to her, 'Sorry, congratulations or many happy returns?'" When she is told that it seems she got up on the wrong side of bed this morning she replies "Yes and it's the same bed I've slept for nearly 50 years. And with the same man". She's a delightful character.
After that the comedy portion finally begins, and it really wasn’t worth the wait. Joan Blondell and Dick Powell co-starred successfully in many movies
during the 30s but for whatever reason, by the time this film was
made they have little or no chemistry on screen. Joan tries her best,
but Dick (as up and coming lawyer Alan MacNally) just seems to be going through the
motions (honestly, he looks so bored) and it doesn’t help that the
script is so leaden for the majority of the movie that there is
nothing for them to work with. Anyway, events conspire to make our
stars meet and soon they are courting, everything is wonderful and
before we know it they decide to get married. Fittingly the ceremony
itself is a rather mute affair as the camera pans round the group of
friends and family in the church staring furtively as the priest
intones the solemn wedding vows to the blank faced couple. It’s the
furthest thing from the joyful celebration of union, but I guess
that’s the point – marriage is a serious business. Divorce has
even taken the fun out of getting married!
Just in case you really haven’t picked up on the message the movie is trying to impart,
Geraldine and Alan are getting on swimmingly as newlyweds until Alan
gets offered a chance to make more money and rise up the ranks at his
law firm by becoming (gasp) a divorce lawyer! From there the
marriage immediately falls apart, and the legal eagles start circling the
wagons. In the end it takes the suicide of Wanda, inconsolable after
realising the mistake she made, to wake everyone up to the fact that
divorce destroys lives (all part of the lovable wise-cracking comedy
of course). Finally, while Geraldine is in shock, numb at the fact
that her sister has died, Grandma decides to monologue about how it
was all Wanda’s fault and that “She broke a promise she made to
the Lord God almighty. She started something that grew big and evil
and it finally was too much for her”. Grandma continues in this
vein, oblivious to the human cost of the ensuing drama, and indeed her own family. The incessant nagging must have worked though, as the couple reconcile and order restored.
Obviously, times and
attitudes have changed since 1940 and divorce is now no longer a
scourge of society but one would hope that even back then people
would be rolling their eyes at the incessant, heavy handed lecturing in the movie. The movie
shows the worst excesses of the Production Code in action, pushing
message at the cost of entertainment, and even advertising itself as a screwball comedy to do so. Quite what Dick Powell and Joan
Blondell were doing in such nonsense is difficult to understand. Apparently they got a very good financial incentive to come to Paramount but it doesn't appear that bothering about a good script was included in the deal.
The movie is
fascinating mostly for how far it hammers the point home about
divorce and its destructive effects. From the opening court scene
where we see the broken families and hear the obviously fabricated
testimony of the selfish plaintiff, to the juxtaposition of the
happily married grandparents from an earlier simpler time (I guess
divorce was only invented in the 20th century) the message
is stay together at all costs. In the key line of the movie, Grandma
tells Geraldine “Getting married isn’t the important thing, it’s
staying married that counts”. In the movie, marriage is about the
long run and the institution is the most important thing. It’s
understandable that they are trying to tell young people to stick it
out throughout good times and bad but the inference is also that if
you are stuck in a broken, unhappy marriage that it’s your lot in
life (and probably your own fault) and you should just grin and bear it. That combined with the frequent
assertion that all a woman needs to be kept in line is a swift slap
(and that men too can be kept in line with a fist or some flying
crockery) gives the impression of a society where being single sounds the
best option.
If the picture given of
the ideal marriage is bad, then the view of divorce is even worse.
There are two things in particular that the movie saves its disdain
for, two things that it considers the lowest of the low. Firstly it’s
divorce lawyers, who seem to be the pushers in this scenario,
planting the seed of doubt in the minds of the married and making it
so, so easy to take a trip to Splitsville, all the while gleefully
pocketing the cash. When Alan and Geraldine get married, the nuptials
go south the minute he decides to take up with the devil’s brigade
of the divorce lawyer. Though he is saved from this soul destroying
fate in the end, he still feels the need to repent his sins and convert his occupation to good, becoming a “Child Conciliation“ lawyer
and thus putting broken families back together for a living
(presumable whether they wanted to or not). I
hope it’s enough to pay the bills.
The second thing that
raises the ire of the movie is women. Or rather women who dare to
divorce. The movie seems at pains to point out how the
lowest thing a woman can do is file for divorce and break up the
sacred family unit. Though to be fair, no one would want to be married to Wanda in the first place as she is vain and selfish and concocts the divorce plan to
spend less time at home and more in the nightclub. In
reality people get divorced for all sorts of complicated reasons but it’s telling here that the reason is portrayed as almost entirely the fault of
the woman and everyone else suffers for her sins.
However, lest we forget
I Want a Divorce is supposedly a comedy and does spend at least a small
proportion of its running time attempting to raise a smile.
Unfortunately because the script can’t decide if it’s a searing
melodrama or knockabout comedy the result is that it’s successful
at neither. Luckily, despite the miserable
atmosphere and the fact it looks for all intents and purposes like a Monogram B picture, it is
saved but a decent cast of reliable faces. As mentioned earlier,
neither Joan Blondell nor Dick Powell are at their best here. It’s
1940, so Joan Blondell is firmly in her brown hair and big
shoulder pads phase (and she wears some extraordinary examples here – I’m
surprised she could get through doors!) but there is the occasional
flourish of the charm that made her famous. In particular a scene
where she asks Grandma about love while waiting for her new beau to
arrive (and fetchingly dressed in a big hat and checked farm girl
outfit). She sighs dreamily as Grandma begins once again to lecture
about marriage then suddenly her face lights up with innocent charm
when she spots Dick Powell approaching. With her big round eyes and
wide smile, for just a brief moment it’s 1934 again. The simple problem with
the comedic sections of the movie is that they are not funny, nor do
they have any remotely comic situations for Joan and Dick to enact. There’s
no one liners, no snappy dialogue and really nothing for the stars to
wring some laughs from. It’s as if the romance sub plot exists to
kill time until the punchline (ie divorce) and thus allow the movie to go back to preaching.
The supporting cast do
at least provide some amusing moments, with entertaining appearances
from Dorothy Burgess (a brief but wildly over the top turn as a
Mexican Spitfire type), Louise Beavers (a sensitively played maid)
and a genuinely funny cameo from Roscoe Ates as a summons server.
However it’s the presence of Frank Fay as their jaded friend Jeff
that steals the show. I never thought I’d say this but (whisper)
Frank Fay is by far the best thing in this movie. Obviously it’s no
secret that in real life Frank Fay was a despicable and reviled human
being, an egotistical, alcoholic, racist wife beater, but if it’s
possible to put that aside (and granted it is very difficult) he’s
rather wonderful in I Want a Divorce. Maybe it was the fact
that he hadn’t had a dramatic part in a movie in close to eight years, or that he had finally begun to accept that he was no longer
the star he once was, but his character has a melancholy demeanour
that is quite compelling. He is used entirely for comic relief and constantly on the run from his crazy wife but his
almost punch drunk wistfulness sets him apart from the rest of the
cast. Maybe it was the effects of the booze but he delivers his lines
in an unsteady manner, with a twinkling detachment of a man who
has lived life and takes each day as it comes. It could equally be
seen as a terrible performance given by a man the shadow of this
former self or an actor coming to terms with his mistakes and finally
showing a degree of vulnerability. Either way he’s the most
memorable thing about the movie, which granted, isn’t saying much.
All in all, I Want a
Divorce isn’t a good film, but it’s strangely fascinating for
its mismatched mix of genres and tone, the odd lack of chemistry
between the married leads and the unexpected charm of a much
despised former star. Most of all though the endless moralising and
preaching about the sacred vows of marriage and the utter disdain at
the mere concept of divorce (and especially those who facilitate it)
results in a tone more like the “Red Menace” movies of the late
40s and early 50s. As ever, it was a bit rich
for Hollywood to lecture anyone of the sanctity of marriage, but it’s
always been a 'do as I say not as I do' type of place. Nonetheless the
heavy handedness of the whole enterprise may not particularly unusual for the time but is unintentionally amusing now. Sadly, it's the sort of subject one would expect to see as a short film or perhaps as a programmer produced by one of the Poverty Row studios, not a Paramount movie with two major stars. As such it's a complete waste of Joan Blondell’s talents at a time
where she really could have done with a career boost.
However, before I pack
my bags and head to Reno there is a curious postscript to this whole
affair. Despite the film getting terrible reviews and flopping at the
box office, someone, somewhere decided that the general public needed
to know even more about the evils of divorce. Thus was born, I
Want a Divorce the radio show, starring Joan Blondell! Stay tuned
until next time and we shall lift the lid on the sequel of sorts
that no one really asked for.
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