In my last entry, we discussed Cary Grant’s first feature-length film, Frank Tuttle’s THIS IS THE NIGHT. That year, Cary starred in many Paramount films, under the first year of his contract. Today’s session, we’ll cover MY FAVORITE WIFE (1940).
From 1932 to this film in 1940, Cary worked in 35 films. By the late 1930s, Cary finished up his Paramount contract, signed onto a four-picture deal with Columbia, and was already seeing the benefits of freelancing. During that time, he swiftly garnered popularity and he co-starred with some of the biggest names of leading ladies in Hollywood including Marlene Dietrich, Mae West, Katharine Hepburn, Jean Harlow, Irene Dunne, and Rosalind Russell.
1932 —- THIS IS THE NIGHT, SINNERS IN THE SUN, SINGAPORE SUE (short), MERRILY WE GO TO HELL, DEVIL AND THE DEEP, BLONDE VENUS, HOT SATURDAY, MADAME BUTTERFLY,
1933 —- SHE DONE HIM WRONG, THE WOMAN ACCUSED, THE EAGLE AND THE HAWK, GAMBLING SHIP, I’M NO ANGEL, ALICE IN WONDERLAND,
1934 —- BORN TO BE BAD, THIRTY DAY PRINCESS, KISS AND MAKE-UP, LADIES SHOULD LISTEN, ENTER MADAME!
1935 — WINGS IN THE DARK, THE LAST OUTPOST, PIRATE PARTY ON CATALINA ISLE, SYLVIA SCARLETT
1936 — BIG BROWN EYES, SUZY, THE AMAZING ADVENTURE, WEDDING PRESENT
1937 — WHEN YOU’RE IN LOVE, TOPPER, THE TOAST OF NEW YORK, THE AWFUL TRUTH
1938 —- BRINGING UP BABY, HOLIDAY
1939 — GUNGA DIN, ONLY ANGELS HAVE WINGS, IN NAME ONLY, HIS GIRL FRIDAY
1940 — MY FAVORITE WIFE, THE HOWARDS OF VIRGINIA, THE PHILADELPHIA STORY
After the smash hit of THE AWFUL TRUTH (1937), director Leo McCarey was anxious to reignite the on-screen chemistry of Grant and Irene Dunne in another screwball comedy. They signed on to MY FAVORITE WIFE with LM as director, even without a script. Leo’s background is a fascinating example of a man whose path to Hollywood success was peppered with a hodgepodge string of failures and setbacks.
A native to LA, John Leo McCarey (Oct. 3, 1896 – July 5, 1969) did a short stint as a middle weight boxer and went to USC Law School and opened his own practice for a short time. While at USC, he endured a freak elevator accident (it would not be his only brush with death) that awarded him a $5,000 payout. With that, he invested in a copper mine that went bust. Having failed at everything else, he began writing gags in vaudeville. His ole chum David Butler (1894 – 1979) was working in motion pictures, first as an actor then as a director, and introduced him to Tod Browning. Leo worked at Universal as a script writer then as an assistant director, with little success. His luck turned for the better in 1923 when he was hired by the Hal Roach studios to write scenes and gags for “Our Gang” shorts. Soon, he was paired with Charley Chase for two-reelers. Within two years, he was promoted to VP. He was credited as the idea man and responsible for teaming up Laurel and Hardy. By 1929, he decided to go freelance.
In 1933, he signed on with Paramount, in hopes to expand into more drama and melodrama films. But it was during these years that he worked with comedy greats like Mae West, Harold Lloyd, WC Fields, starting with his first Paramount feature, DUCK SOUP (1933) with the Marx Brothers. By 1937, he was out, but not for long. Harry Cohn brought McCarey into RKO to make THE AWFUL TRUTH, which earned 5 Oscar nominations and an Oscar win for Leo. Starting in 1939, McCarey was just beginning a new era of his career following his four-times Oscar nominated, LOVE AFFAIR starring Irene Dunne and Maurice Chevalier. But not before a serious car accident would cast a huge blow first. He would recoup in the hospital while Garson Kanin took over directing MY FAVORITE WIFE. Leo would still serve in the role for the story and producer. Kanin was known more for his writing than his directing [BACHELOR MOTHER (1939), ADAM’S RIB (1949), BORN YESTERDAY (1950), PAT AND MIKE (1952).
Gail Patrick recalled the challenges of McCarey’s unexpected absence during the MFW production. “On My Favorite Wife,” recalled Gail Patrick, “we were desperately trying to be funny as our producer, Leo McCarey, lay at death’s door from an automobile crash. He recovered, but I never thought we entered into the spirit of that one. We couldn’t—we were waiting for bulletins from the hospital.”* A couple of weeks after shooting began, Leo was well enough to visit the set and observe progress. After filming wrapped, McCarey got to work as editor, but something fell flat when test screening audiences previewed.
As biographer Peter Bogdanovich noted, “McCarey later recalled, “after about five reels, the picture took a dip, and for about two reels or more, it wasn’t as funny as what preceded it … it was a lot of unraveling of a tricky plot.” A second preview confirmed that the film broke down at exactly the same point.
So the cast was dismissed, the writers went home, the director went back to New York, and I sat there with the cutter trying to figure out what to do to save the picture. … Then I got the wildest idea I ever had. There was a judge in the opening who was very funny, and he dropped out of the picture, and I decided to bring him back. What we actually did was to tell the judge our story problems in the picture and have him comment on them. And it was truly great. It became the outstanding thing in the picture.”**
Like McCarey, Gail Patrick had also studied law. She consulted McCarey when he scripted in the additions and judge dialogue. Patrick also suggested an alternate twist with her character and Randy Scott’s ending together after the additional judge scenes, but this idea was turned down. Now it was ready.
Before we go on, we must discuss Gail Patrick. Margaret LaVelle Fitzpatrick (June 20, 1911 – July 6, 1980) was born in Birmingham, Alabama with a winning combination of brains, talent, and beauty; she was destined for great things. She graduated from Howard College where she remained as acting Dean of Women then completed two years of law school at University of Alabama, with political aspirations. But on a whim, she entered a Paramount Pictures talent/beauty contest. The prize was a small role in ISLAND OF LOST SOULS (1932). She got a contract instead, which she shrewdly negotiated herself. She made over 60 films starting in 1932. She is often known for roles of a raven-haired, beautiful but cold sophisticate. STAGEDOOR (1937) and MY MAN GODFREY (1936) are stand-outs that earned her an on-screen reputation as a ‘deadpan meanie’ who didn’t quite get the lead.
She stopped acting in films in 1948 but her best work was yet to come, just as Hollywood transitioned to the popularity of television. Her astute negotiation skills came into play again when she created Paisano Productions, to bring Perry Mason to television. She and the creator of the iconic character, attorney/author Erle Stanley Gardner, shared a mutual love for the legal world. Patrick developed the series, then sold it to CBS. She served as President of the production company and as executive producer for the show. She was one of the very first women producers in television, and the only female producer in the primetime slot while the series was on air. It ran successfully from 1957 to 1966 and remains a beloved classic to this day. And yes, Patrick wrote and negotiated that contract herself that left both CBS and Paisano Productions in excellent financial shape for many years. Outside of this, she continued a long list of accomplishments and actively supported many causes and charities, which I may save for a separate piece. Gail Patrick died at the age of sixty-nine years old of Leukemia on July 6, 1980.
Noteworthy too is the inclusion of Scotty Beckett (Oct. 4, 1929 – May 10, 1968) as young son Arden. He was a memorable child actor due to his casting in the “Our Gang” shorts. As “Scotty” he wore a baseball cap backwards and an oversized sweater. Arguably the cutest of the kiddy cast, he continued acting from his toddler years to his early twenties. In his youth, he worked with some of the biggest stars in major Hollywood films- Spencer Tracy, Greta Garbo, Norma Shearer, Errol Flynn, and Fredric March to name a few. Despite his career achievements, his personal troubles may be equally famous. Sadly, he battled alcoholism, gambling addiction, and substance abuse which led to arrests and eventually a serious car accident where he was severely disabled. He died at the age of 38, after he attempted suicide for a second time. Heartbreaking to think of such a talent and potential cut short.
Irene Dunne and Cary Grant chemistry sparkled on-screen in screwball comedies and MY FAVORITE WIFE proves that. Personally, I believe Irene was his best leading actress in harmonizing comedic timing. Which is a tall order with the leading actor that dominated screwball comedies, especially with the heavy competition of leading actresses during this era. We’ll explore more background on Dunne when we cover PENNY SERENADE (1941).
For this screening, let’s discuss…
-How does Grant’s expertise in physical comedy and comedic timing shine in this film?
-How do we see Grant’s acting skills and on-screen presence in comparison to his first feature?
-What hallmark elements of screwball comedy do we see in MY FAVORITE WIFE?
-Where do we see inside jokes about the “Bachelor Hall” bromance of Grant and Scott?
-Does Gail Patrick play ‘the straight’ in a comedic pairing with Grant- or does Dunne? Or Scott? How do each of their styles differ?
-Do you see any similarities with THE AWFUL TRUTH?
-The Ahwahnee Hotel in Yosemite Park was the filming locale for hotel scenes in MFW. What other iconic film used this grand hotel’s lobby as a template inspiration for the set design?
-Alfred Lord Tennyson’s poem, “Enoch Arden” is centered on a fisherman presumed lost at sea who returns to discover his wife has remarried, which inspired five silent films. MY FAVORITE WIFE (1940) is much more loosely based on this tale but with the spouses flipped. Can you name the other two remakes of this film? (Trick question because one of these films was never released).
Cast and Crew:
Irene Dunne – Ellen Wagstaff Arden
Cary Grant – Nick Arden
Randolph Scott – Stephen Burkett
Gail Patrick – Bianca Bates
Ann Shoemaker – Ma Arden
Scotty Beckett – Tim Arden
Mary Lou Harrington – Chinch Arden
Donald MacBride – Yosemite Hotel Clerk
Hugh O’Connell – Johnson, Insurance Adjuster
Granville Bates – Judge Bryson
Pedro de Cordoba – Dr. Kohlmar
Directed by: Garson Kanin
Produced/Story by: Leo McCarey
Writing by: Bella Spewack, Sam Spewack, Leo McCarey, Garson Kanin, John McClain, Alfred Lord Tennyson (“Enoch Arden” poem, uncredited)
Music by: Roy Webb
Editing by: Robert Wise
Cinematography by: Rudolph Mate
Costumes by: Howard Greer
*This article was originally included in my CARY GRANT film series, which I instructed in the Fall of 2023.
Sources:
*Bawden, James (May 1981). “Gail Patrick” Films in Review. National Board of Review of Motions Pictures, Inc. 32 (5): 286-294
**Bogdanovich, Peter (1997). Who the Devil Made It. New York: Alfred A. Knopf.
Miller, Laura (July 7, 1980). “Gail Patrick, Actress-Producer, Dies”. Los Angeles Times.
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