May 27, 2016

Irene Dunne, I Remember Mama

as MARTA "MAMA" HANSON
What is I Remember Mama really but another footnote in the deep vault of sentimental trite that was 1940's Hollywood? For over 2 hours we are witness to random vignettes of the lives of the Hanson family, rather hastily strung together for no incisive reason at all. And the acting? We've got an ooey gooey and oh-so-sleepy performance from Barbara Bel Geddes, Oscar Homolka in one of the most criminally overracted performances of the decade, and Ms. Irene Dunne, scooping up what would be the last nomination of her career.



Dunne is, point blank, I Remember Mama's saving grace. She grounds the oft-times raging ridiculousness of the film and turns Mama into a relatable being and character. Equipped with a rather convincing Norwegian accent,  I may not be able to wrap my head around why Mama freaks the hell out over not being able to visit her daughter in the hospital over a mere 24 hours, but it's Dunne's acting (and it's clear that she does her absolute best) in making the film's crooked reasonings nearly understandable. Under George Stevens' direction, Dunne crafts a wholesome and touching performance--Stevens' lens, frequently zooming into the faces of the film's characters, provide a nice avenue for Dunne to swiftly impact viewers. You can see the emotion beautifully internalized by Dunne, who plays the reactive Mama with quiet grace. Some of her best moments in the film are her silent ones, where the camera focuses on her as she sorts out her thoughts (that final shot of Dunne is fantastic). What I found most interesting here is the seasoned maturity of a veteran incorporated into Dunne's acting here, which stands out from her nominated performances of her 1930s heyday. While I'm not sure it packs a strong enough punch for me to grade it higher than what I did below (though I did think about it), Dunne's contribution to I Remember Mama is highly watchable, warm, and expertly done. A finishing embellishment across a nice Oscar run.

8 comments:

  1. This must be the most over-sentimental film produced in the 40s. Dunne found a way to give a sober performance. I even remember liking Bel Geddes, even more compared to the other suppporting players.

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    1. I'm not sure about the most over-sentimental....only because I feel like I've seen so many now that it's hard to honor one as the most. I oddly found it fairly watchable, if a bit ridiculous. Felt like Bel Geddes puts in a performance typical for any 'young' actor at the time. Pretty effected and not really masterful, but does what is required of it.

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    1. I actually MUCH preferred Ellen Corby to Barbara Bel Geddes. I thought Corby really made the most of the very little that's given to her, and had a great way of standing out whenever she was on screen. Just a bummer that she's not featured that much.

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  3. I found the film old-fashioned and really quite boring, but I did enjoy Dunne, whom I don't always care for. You're exactly right - she's the film's "reactor" and she often helps clue us in on how to take situations and characters. It's an intuitive and layered performance; not flashy or riveting, but very nicely done.

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    1. I've had mixed reactions myself with Dunne - so glad I ended up enjoying her last nominated offering!

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  4. I don't remember a lot of it but I liked Irene the first time I saw her.

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    1. That's all that matters doesn't it? Have seen many a film by now where I can't recall much about the film itself, but fairly recall the actor/actress.

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