I REMEMBER MAMA: Blu-ray (RKO, 1948) Warner Archive

Interesting to think of Irish/German-born actress, Irene Dunne, going full-on dowdy as the forthright Norwegian matriarch in George Stevens’ poignantly realized, I Remember Mama (1948) as only 4 years earlier Dunne was still being cast in romantic leads, (The White Cliffs of Dover, 1944) and just 2 years prior, as beguilingly beautiful as ever in Anna and the King of Siam (1946). Sadder still to reconsider, Dunne had barely 4 years left in the movie biz – her final three pictures, box office duds, hastening her decision to retire from the silver screen for good. The arc of most leading ladies in Hollywood has been most astutely summarized by fellow actress, Mary Astor who, when asked to describe the stages, thusly surmised, “Who is Mary Astor? Get me Mary Astor. Get me someone who looks like Mary Astor…and finally, who is Mary Astor?”

Dunne in Stevens’ masterpiece is very much at the tail end of her ‘get me’ phase – having appeared in a string of striking hits: Back Street (1932), Magnificent Obsession, and, Roberta (both in 1935), Theodora Goes Wild, and, Show Boat (1936), The Awful Truth (1937), Love Affair (1939), Unfinished Business (1941), Lady in a Jam (1942) and, A Guy Named Joe (1943). To have appeared in any one of these would be enough to earn Dunne a prominent and enduring place in the cinema firmament. And yet, today, her reputation has been all but eclipsed. It shouldn’t be. For, in Dunne we receive a quiet rectitude, unassuming yet potent, and never above a good piece of ribald comedy to infer a wryer wit, easily to rival and then surpass any sophisticate or gentleman, beating both at their own game. Quite simply, there has never been, nor is there ever likely to be ‘another’ Irene Dunne.

It is rather obscene to be considered one of the finest actresses of one’s generation, yet never to win an Academy Award. And even more grotesque to find Dunne today a faded, memory, even in most retrospectives, perhaps, as eleven of her biggest roles were eventually inherited by other actresses in the post-war ‘remake’ era – to go on and be remembered for their work, even if Dunne’s performances rank comparatively, more technically proficient and emotionally satisfying in the originals. Dunne ultimately took this snub in stride. “Acting’s not everything,” she concluded in 1977 – “Living is!”  In some ways, the part of Norwegian matriarch, Marta Hanson in I Remember Mama represents Dunne’s most well-rounded accomplishment, for it combines the severity of a great dramatic star with intervals of introverted comedy as heartwarmingly humorous as it appears genuine. Dunne, it should be noted, never considered her monumental take in the classic screwballs as anything better than dumb show for the dog and pony follies. Yet, if Dunne is remembered at all today, it is mostly for her subversive characterizations of these tart, smart and potently silly dames from the heiress caste, whose initial obfuscation of their inherent lunacy acts as a lure to snare the male animal.

I Remember Mama is not the movie I would use to introduce novice film goers to Irene Dunne’s body of work. Simply put, its familial bent is more in tune with Life With Father, that other generationally-themed picture Dunne made the year before. For another, the strain of light comedy in I Remember Mama has, by far and large, not aged well in the interim, appearing more stiltedly folksy than charming and, in a few instances, teetering on the verge of being cringe-worthy. So, what we are left with is Dunne’s ability to convey a certain grounded goodness, built into the struggling, yet hearty immigrant class, and her reinvention of a Norwegian accent, for which Dunne studied very hard to master with a vocal coach. Yet, even so, it’s the actress’ timeless patrician beauty, on the cusp of age, 50, that shines through these cosmetic applications, belying the heavy braids and stuffed girdle intended to make Dunne over as a more matronly figure. And above all else, it is Dunne’s inherent sophistication as a woman from her own times that wins out and exposes the eccentricities in her characterization, she otherwise is trying so hard to master as her own.

Our story begins in narrated homage, as the Hanson’s eldest daughter, Katrin (a barely recognizable Barbara Bel Geddes) concludes her autobiographical novel with fond recollections of the woman who bore her into this world. We regress in flashback to 1910, discovering Marta Hanson preparing the weekly budget with her husband, Lars (Philip Dorn), and children, Katrin, Christine (Peggy McIntyre), Dagmar (June Hedin) and Nels (Steve Brown) at her side. Nels’ desire to attend high school means each member of the family will have to make financial concessions. Not long thereafter, Marta's sister Trina (Ellen Corby) announces her engagement to undertaker, Peter Thorkelson (Edgar Bergen), pleading with Marta to break the news to their sisters, Sigrid (Edith Evanson) and Jenny (Hope Landin). Realizing the resistance she will encounter, Marta blackmails her reluctant siblings with embarrassing anecdotes about them.

In another vignette, lodger, Jonathan Hyde (Sir Cedric Hardwicke) reads from Dickens. The family is also visited by Marta's crusty, but benign Uncle Chris Halverson (Oscar Homolka) and his housekeeper, Jessie Brown (Barbara O’Neil) - secretly, his wife. Upon discovering Dagmar quite ill with mastoiditis, Chris has her taken to hospital. The operation to spare her life is successful. However, Marta is prohibited from attending Dagmar, disguising herself as one of the hospital’s housekeeping staff to sneak into her room and sing to her. Upon Dagmar’s return home, she discovers her beloved cat ‘Uncle Elizabeth’ severely injured during its wanderings in the neighborhood. Certain the animal will die, and to spare its misery, Marta sends Nels to the drugstore for some chloroform to euthanize it. Happy circumstance for all that, upon plying the sick cat with the potent drug it falls into a deep sleep, from which it later awakens fully restored to its former self.

The family also discover Mr. Hyde has vanished into the night, having left behind his considerable library of classic books and a check, supposedly to cover his accumulated months of rent. When it is learned the check is worthless, Marta postulates the gift of literature is worth far more than any remuneration Hyde might have provided. Meanwhile, Katrin has her heart set on a dresser as her graduation gift. As the family can scarcely afford it, Marta pawns her broach, a family heirloom, to pay for it. When Katrin learns this, she is overwrought with emotions, trading the dresser back for the broach and returning it to her mother. Moved by this gesture, Marta bequeaths the broach to Katrin. Hearing Uncle Chris is gravely ill, Marta and Katrin attend him on his death bed. Chris confides he has no inheritance to pass along, having spent his life savings on donations to sick children with leg and foot deformities.  He also discloses that Jessie is his wife.

Trina weds Peter Thorkelson in the front parlor, the scene dissolving into one year later, with the happy couple, now proud parents relaxing in the park. After being rejected in her literary aspirations, Katrin becomes distraught. Marta takes some of Katrin’s stories to renown author, Florence Dana Moorhead (Florence Bates) who, upon a glance, suggests to Marta the girl should be writing about what she knows. On this advice, Marta urges Katrin to write a story about Papa. When Katrin's story is accepted for publication, she earns $500, proudly announcing some of this will go to buy the winter coat Marta has always wanted. Katrin also reveals, her story is titled ‘Mama and the Hospital’. As Katrin begins to read it to the family, the film concludes as it began, with the memorable line, “…but first and foremost, I remember mama.”

Based on Kathryn Forbes’ 1943 novel, ‘Mama’s Bank Account’, later to morph into John Van Druton’s 1944 play, viewed today, I Remember Mama is more noteworthy for its dramatic vignettes. These continue to resonate with audiences, particularly, the gentle and affecting relationship between Marta and Katrin, each peerlessly portrayed herein. And a moment’s pause, to honor the other truly great female performer in this picture, Barbara Bel Geddes as Katrin. Geddes, whose professional tenure would eventually run the gamut from the American theater to the silver screen, and, beyond, into television – to say nothing of her contributions to children’s literature – herein exudes an uncanny maturity wedded to her obvious youth and spark of vitality. Yet, the true strength of the piece is, ironically, not to be found directly in either performance, nor even indirectly in the body of the Hansons’ collective whole, which represent formidable grace and truths in extolling the American immigrant experiences from another century. DeWitt Bodeen’s screenplay is neither overwrought with hysterics nor highborn on rank sentimentality. Rather, it plies the heartstrings on the vigor of its subtly, in finding the humanity that binds a family together, and, in celebrating this understated, ‘homey-ness’ for which the most close-knit bonds in life are forged, fostered and finessed into the finer art of living well through peace of mind.  

I Remember Mama arrives on Blu-ray via the Warner Archive (WAC) and, predictably, this is yet another pristine offering from the studio, faithfully committed to preserving the cultural heritage of its vast holdings for future generations to study and revere.  After decades of viewing poorly contrasted, age-riddled, grainy prints, I Remember Mama on Blu-ray emerges as one of the most startling resurrections. The image is creamy, showcasing Nicholas Musuraca’s stunning cinematography to its very best advantage. Contrast is uniformly excellent. Fine details abound. The grayscale is exceptionally nuanced, with grain properly in its place. What a gorgeous image!  The 2.0 DTS mono audio has been given the necessary clean-up, complimented by Roy Webb’s beautiful score. The only extra is a theatrical trailer. Bottom line: I Remember Mama is a loving portrait of familial triumphs and tribulations, anchored by a star turn in a marked departure from her trademarked métier, and, supplemented by an exquisite supporting cast. The Blu is perfect. Very highly recommended!

FILM RATING (out of 5 – 5 being the best)

4

VIDEO/AUDIO

5+

EXTRAS

0