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CHAPTER 10 Romance
Whether the fact that the better movies invariably subordinated the pursuit of romance is evidence conclusive that its pursuit as screen fare is not as exciting as it is cracked up to be, we would not know, but no movie, regardless of how much its pursuit of romance has been unveiled, garboed and gabled, has ever achieved great movie rating.
In but two of the great movies we have reviewed in this book was the pursuit of romance a main sympathetic pursuit. One was Theodora Goes Wild. And summed up, what treatment did scripter and director accord Theodora's passion?
Early in the story we saw a maiden lady in her early thirties shedding inhibition via the authoring of a naughty novel. Then she met the artist who designed the jacket to her book and inhibition dissolved like mist in a midday sun.
Now sympathy is surefire for girls who have let romance slide until their charms begin to fade, yet with that far-reaching appeal inherent in Theodora's pursuit, the studio took no chances on it building an adequate sympathy.
First, they had the artist chase Theodora until she finally caught him. And not quite satisfied with that inversion, with that surefire bid for laughs, her pursuit was given a terrific two-social level opposition bigger than anything ever before attempted on the screen, one that kept Theodora so busy combatting it there was no chance of an audience let-down.
The pursuit of romance was one of the sympathetic pursuits in The Three Smart Girls but it too was treated for laughs, amply enhanced and opposed, appeal and non-appeal acutely balanced. Three boys wanted girls. Daddy wanted his siren. His business manager wanted his daughter Kay. The young Australian Lord wanted his other daughter, Joan. Then there was Penny, played by Deanna Durbin with the Durbin voice tossed in for good measure. And finally, the main sympathetic pursuit was not the pursuit of romance. It was getting Daddy back to Mammy.
Again in She Done Him Wrong, that movie's much
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