Consolation Marriage (1931)In prohibition-era Manhattan, shopkeeper Mary Brown loses Aubrey, her childhood sweetheart, when he marries a rich woman. Reporter Steve "Rollo" Porter has lost -his- childhood sweetheart, ... See full summary » Director:Paul Sloane |
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Cast
| Complete credited cast: | |||
| Irene Dunne | ... | ||
| Pat O'Brien | ... | ||
| John Halliday | ... |
Jeff Hunter
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| Myrna Loy | ... |
Elaine Brandon
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Lester Vail | ... |
Aubrey
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Matt Moore | ... |
The Colonel
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Plot Summary
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Storyline
In prohibition-era Manhattan, shopkeeper Mary Brown loses Aubrey, her childhood sweetheart, when he marries a rich woman. Reporter Steve "Rollo" Porter has lost -his- childhood sweetheart, Elaine, who has also married another. Mary and Steve become friends, and make a marriage of convenience, based on a shared sense of whimsical humor as well as their mutual losses. When their old loves re-enter their lives a few years later, Mary and Steve must decide what is really important to them. Written by Molly Malloy
Genres:
DramaParents Guide:
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Details
Country:
USALanguage:
EnglishRelease Date:
21 November 1931 (USA) See more »Also Known As:
Married in Haste See more »Company Credits
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IMDbPro »
Technical Specs
Runtime:
Sound Mix:
Mono (RCA Photophone System)Color:
Black and WhiteAspect Ratio:
1.20 : 1
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(1865) (uncredited)
Music by Johannes Brahms
Played during opening credits and at fadeout
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Did You Know?
Trivia
Carmel Myers was considered for the role of Elaine but, after a halt in production, Myrna Loy was cast in that role instead. See more »Soundtracks
Waltz #15 in A flat major: 'Lullaby', Op.39(1865) (uncredited)
Music by Johannes Brahms
Played during opening credits and at fadeout
See more »
Although the first ten minutes of the film are a trial, relishing as it does the cacophony of early films, the sheer bravado of Pat O'Brien and the iridescent charm of Irene Dunne soon make up for the horror of Myrna Loy, as stiff and plastic as her hairdo, and John Halliday, as a weak, chinless cretin musician. Once these two are left behind, the screenplay transcends its material and the dialogue and wit are as illuminating as the key lighting. The interaction between Dunne and O'Brien is what people mean when they say: "They don't make movies like this anymore." The two simply become more than the sum of their parts.
Discussing the ending would be akin to drowning a kitten. Suffice it to say that this is soap opera at its best and once the two weak sisters re-appear and disappear, we are left with an ending that allows us to feel morally uplifted. The material is dated but the inter-action between these two beginning stars of yesteryear makes up for any weaknesses. To fault the film for its age is simply ridiculous and makes such critics even less aware of just how good Hollywood films once were -- crowsfeet and all.