Theodora Goes Wild

I've seen this movie many times, and it just keeps getting funnier every time I see it. It reminds me a lot of myself, growing up in a small town like "Lynnfield", and being brought up to think and act the way Theodora was. Then when I moved away from home, some people thought I went "wild!" This has all the qualities for people who can relate to small towns, even with the "worst town gossip" to make you wonder what's going to be spread next... For a fact, this movie is a lot like Irene Dunne's life, actually her friends said they liked her best in this movie, because it is most like her in character. If you come from a small town, it's a classic film you can kinda relate to...and just have to see!

This is one of my favorite screwball comedies -- a very smart movie with a sharp screenplay that never lags. In the same subversive spirit as Miracle of Morgan's Creek (another favorite film) - and builds to a similar stunning, hilarious, code-breaking climax. The script is beautifully structured and the performances are all terrific -- it's Irene Dunne's best film, and Elizabeth Risdon is wonderful in a smaller role as the aunt. Very underrated, don't miss it (check out James Harvey's insights on the film in his marvelous book, "Romantic Comedy").

I'm not sure how Theodora Goes Wild would be viewed today because of changing demographics. Some of those small New England towns like Lynnfield are not bastions of conservatism any longer. Today the home of a well known author like Irene Dunne would be a tourist attraction.

But back in the Thirties, this still was the New England of Calvin Coolidge and descendants of the town founder just don't go writing romance novels. But that's what Irene Dunne is doing only its under a pseudonym, lest the good people of Lynnfield make life uncomfortable for herself and her two maiden aunts.

Irene's cover will be blown though when she meets her illustrator at her publisher. Melvyn Douglas is quite smitten with her and he follows her back to Lynnfield from New York and persuades her that she ought to live life a little and not just vicariously through her novels.

Dunne takes his advice with a vengeance after he's thoroughly embarrassed her. But when Theodora Lynn does go wild she takes no prisoners. Coming out in public under her pseudonym of Caroline Adams, Dunne gets fame and notoriety confused. Today she would be big time tabloid fodder and pays Douglas back in a way he can only blame on himself.

It's charming pair of leads with a delightful supporting cast that play their roles to perfection. A particular favorite of mine is publisher Thurston Hall who gets to do a drunk scene with Dunne, something the very proper Mr. Hall didn't often do.

Irene Dunne got one of her five Oscar nominations for playing Theodora Lynn aka Caroline Adams, but lost in the big sweepstakes to Luise Rainer for The Great Ziegfeld.

I'm not sure how you could do Theodora Goes Wild today though. I can see the town billboard on the Massachusetts Turnpike: Welcome to Lynnfield, Home of Caroline Adams.

As a fan of Irene Dunne's, and not having managed to catch up with Theodora Goes Wild, I was looking forward to finally getting to see this movie after having read the lavish praise heaped on it on this site. Having said that, I have to admit that while, yes, it was amusing, it was very much of a one-note idea that was stretched very thin. Dunne, as always, was at the top of her form and her talents in all departments were very much on display. What did let the movie down was a weak script and an irritatingly hammy performance by the usually reliable Melvyn Douglas. One only has to look at Ninotchka to see how good he can be when his comedy acting has a serious side to it. His character in Theodora Goes Wild was just too silly to be believable. The smalltown sequences were charming in their way but after a while became tedious with repetition. Thomas Mitchell's scenes (as editor of the local newspaper) were rip-roaring first class, which made one want for more. Would I recommend this movie? Yes, if you're a fan of Irene Dunne's and want to watch her comedic talents at work. Several postings on this site have recommended The Awful Truth as a must-see. Well, yes, if you're a Dunne fan but here again there are moments when the script sags and both Dunne and Cary Grant, both consummate professionals, are skating on very thin ice, pulling the movie onward through sheer force of personality. If you really want to see Irene Dunne at her very, very best then you should catch her in the much better written My Favorite Wife, or Love Affair, both infinitely superior to their later remakes. In these two movies her talents REALLY soar!

I saw this movie for the first time a few days ago. I've heard and read a lot about it, and know that it is considered one of the top screwball comedies of the '30s. Unfortunately, I can't figure out why.

I actually like Irene Dunne, and always thought that Melvyn Douglas was in the same league with William Powell when it came to glib, sophisticated comedy, so I was all set to enjoy this one. But about a quarter of the way through it, I found myself asking, "When is this thing going to get funny?" The subject matter--how the reactionary, repressive mentality of a clique of small-town religious zealots stifles any kind of individual creativity at all--is more suited to a drama than a comedy, and I think this film would have actually worked better as a drama with some comedy thrown in, which both Dunne and Douglas were more than capable of, than just as a comedy alone, which it really isn't. There are a few amusing moments in it, but not nearly enough to be classified as a "screwball" comedy. Thurston Hall is his usual amusing, blustery self, and Spring Byington is good as the town's two-faced gossip, but that's about it. Dunne and Douglas try hard, but they're just not given much to work with.

I know that a lot of people think this film is on a par with "Nothing Sacred", "My Man Godfrey" or "Twentieth Century," but I just can't see it.