Unfaithfully Yours

Unfaithfully Yours (1948)

I've never quite loved Preston Sturges as a director or Rex Harrison as an actor, so having the two of them together here didn't bode well, and I thought I'd announce my bias. And sure enough, on this second viewing I was reminded of a kind of crisp calculation that both of them have. Sturges makes amazing movies, no question, and the best of them (Palm Beach Story is my favorite) are hilarious classics. To see this one for what it offers you might first see a classic Sturges screwball from 1941 or 1942. But even those are clinical at heart (if they have a heart), so it's a little like sipping a very dry, clean martini and getting drunk. Alone. No olives. Wit and sophistication do better in the hands of Cole Porter, somehow, but see for yourself.

Harrison the actor overcomes his harsh demeanor in a movie like My Fair Lady because the music and the style there give him some kind of liberty, but here he is supposed to be sympathetic in his demented cruelty, and I only wish him failure. He is, to be sure, plotting the death of his wife. Three times. And then the fourth, beyond the symphony podium, with its madcap bedlam. It's funny in that zany way you have to laugh at. And you will laugh.

I love classical music and like the structure of the film, but as usual with Sturges, this structure makes the whole process detached and too too clever. Sturges himself wrote the screenplay for this idea way back in 1932, and if it had been shot then, before the Hays code, before the real rise of screwball, we would have had a very different movie. But what we have here is admirable and interesting, for sure, if not the zinger it could have been with a different tilt.

As he conducts a symphony in a crowded concert hall, an esteemed musician imagines different ways to deal with his wife's reported infidelity in this Preston Sturges comedy. Rex Harrison is perfectly posh, snobby and indignant in the lead role, though his character is more than a little hard to relate to as he simply assumes that his wife has been unfaithful based on hearsay without ever confronting her and without any real evidence. In this regard, the film plays out a lot like 'Othello', though with a pronounced black comedy streak as some of Harrison's imagined solutions to the issue are really rather grisly. In arguable bad taste or not, 'Unfaithfully Yours' is laugh-out-loud funny at its best with the zaniest moments coming from Harrison later trying to act on his imagined scenarios, only to find himself foiled by unreliable technology and other things that get in the way. The film is incredibly slow to build up though, with over 45 minutes elapsing before Harrison starts to concoct revenge scenarios. While this build-up does allow us to get under his skin a bit better, it also makes him seem all the more foolish for not doing anything more to confirm the suspected infidelity. A rather nice touch of the movie is how his anger gives him the fuel to conduct more brilliantly than ever, but this is not a first rate Sturges comedy, even if it certainly never once bores.

One of Director Preston Sturges' most enjoyable films, Unfaithfully Yours is a dark comedy which uses the skills of it's leading actors Rex Harrison and Linda Darnell, to perfection.

Harrison plays Sir Alfred De Carter, a famous symphony conductor who has recently wed the beautiful and much younger Daphne (Darnell). Upon returning from a successful concert tour, Sir Alfred is confronted by his brother-in-law August(Rudy Valle), whom he had charged to look after Daphne while he(Sir Alfred)was away. Merely wanting August to drop in on Daphne on occasion, Sir Alfred is shocked to find out that August instead, enlisted a private detective to shadow his wife around town. Outraged when presented with the detective's file, Sir Alfred refuses to even look at it. However, he is eventually confronted with the sleuth's findings, which to his chagrin, reveals that while he was away, Daphne made a very suspicious late night call to a man's room wearing only a negligee. He is further devastated to find out that the rogue in question is his own right-hand man, Tony (Kurt Kreuger), a handsome, dapper fellow more closer in age to Daphne. Believing the worst, Sir Alfred's pristine world is suddenly turned upside down, and he becomes a man consumed with jealousy and suspicion.

From here we watch Sir Alfred's gradual meltdown as the thought of his wife's infidelity haunts his every moment. Even the concert stage can't provide him any solace. While performing before a sold out audience, his mind is less on the music and more on how he will deal with the adulterous duo. With his baton wailing wildly, his mind plays out various fantasies; his first thoughts are of murder, concocting an elaborate scheme which will leave Daphne dead and Tony framed as the killer. In another scenario he sees himself as the forgiving saintly husband, allowing his young wife to leave with his blessing, even going so far as to write her a check to cover their anticipated needs. Finally, he envisions himself cast him as the crazed, pitiful victim, confronting Daphne and Tony and committing suicide before their guilty eyes. As the music ends Sir Alfred has settled on murder as his method of revenge. He abruptly ends his performance and proceeds to put his plan into effect. Hilariously, nothing seems to go quite as smoothly as it had in his vision.

Harrison is masterful as the prim and proper husband who becomes the green-eyed monster bent on revenge. Under Sturges direction, Harrison succeeds in conveying the frailty of the male ego, when faced with the possibility that the little lady may have found the grass a little greener in the neighbor's yard. Darnell as Daphne looks ravishing as the suspected spouse. She ably plays innocent enough to draw doubts about her husband's charges, yet sexy enough to make you believe that the accusations just might be true. A very entertaining movie, I would definitely recommend Unfaithfully Yours particularly for Rex Harrison fans, as this is one of his finest performances.

This film brings us Rex Harrison already foreshadowing Professor Higgins. He tries out the arrogant, picayune, verbally acute role and is absolutely successful. The seed is planted and we, who know what is to come twenty years hence, rub our hands gleefully in anticipation of Higgins. But Linda Darnell is no Eliza. Instead, she is a loving, docile, trusting wife, already dressed as though she will be meeting the Queen and looking beautiful and so very desirable.

The dialog crackles and moves fast. Only Rex Harrison and perhaps Cary Grant could have have delivered with the wit and brio that Sturges deserved.

There are two extended slapstick scenes that should have been cut shorter.

Edgar Kennedy as a Private Eye has a couple of great scenes when he turns out to be a classical music devotee and is knowledgeably enthusiastic about Harrison's conducting.

A digression: Harrison tosses a couple of tickets to the Philharmonic concert, they are orchestra tickets a few rows from the front row. Price $3.80, designated as "Patron"' seats.

I was surprised to see only one comment on this film in your files. It's been one of my all-time favorites since I was a youngster about the time it was made. Now that I'm reminded by looking it up here that it was a Preston Sturges film I can see why that's so. His classic comedies were unique. It must be also one of Rex Harrison's greatest films. Being a professional musician myself I can especially appreciate the symphonic ambience in which it takes place. I can also appreciate the possible parody Sturges might have had in mind of the great British conductor of those days, Sir Thomas Beecham. The greatest and most memorable visual effect of the movie (I've certainly remembered it all these years most vividly) happened when the Harrison character has to look up the directions for using the recording machine on which he was going to fake the evidence of his wife's still being alive. Onto the screen flashes the most outrageously complex electrical diagram comprehensible only to a professional electrician. This symbolized the inability of modern man to cope with advanced technology. One of the most hilarious moments in film I've ever seen. More viewers should catch up with this one.