Marriage Is a Private Affair

As the somewhat Margaret Dumont-ish title would indicate this is a classic chick flic with acting and dialogue pitched squarely at the lady's magazine crowd; you know, lots of gasps, raised eyebrows, meaningful gazes and lines like "If you lie to me about the maple leaf, Tom, then..." However, if you can get past the foregoing, as well as the Hays Office BS (Double beds on a friggin HONEYMOON?) and Robert Z Leonard's rather placid direction, then there are some pleasures to be had. Not the least among them (gee, I'm starting to write like this film!) is Lana Turner's better than expected performance in the lead, especially in the scenes with her wayward, matrimony loving mom, played to comedic perfection by Natalie Schaefer about twenty years before her three hour cruise (By the way, RIP Dawn Welles. That leaves only Tina Louise on the island) and one of the more well staged disastrous dinner parties you'll see on celluloid. Give it a C plus. PS...It took about three days to get Bronislau Kaper's voluble, intrusive score outa my head.

this is truly a collectors item. turner is at her most beautiful, all baby doll pout and velvet sincerity. production values are high. its a cult film that merits rediscovery. a big hit in 1944, it grossed 2 million at the box office, in the days when a hit was really a hit. audiences loved lana in her dimpled heyday and this film screens like a valentine to her sensuality. don't miss it. they don't make stars like lana anymore. gore vidal is on record as saying that he saw this film while young and that it had an impact on him. he mentioned it years later in myra breckinridge. tennesse williams worked on an early draft of the screenplay, and privately referred to it as a celluloid brassiere for miss turner!

Lana Turner might have been a good actress, but her personal life was a mess. She was married seven times and none of them lasted very long. So, having her star in "Love is a Private Affair" is ironic indeed. The film seems inspired by her own life, as Theo (Turner) has been brought up by a spoiled and narcissistic mother (Natalie Schafer) who seems to get married about as often as most folks change their underwear! And, not surprisingly, Theo is ill-equipped for marriage. Only eventually does she realize that marriage is not about finding the perfect partner but about being able and mature enough to be married.

While this isn't a bad film and it is worth seeing, the film has two things working against it. First, having Turner star in a pro-marriage film is a bit ridiculous and today this sort of casting might make folks laugh. Second, and a more serious problem, is that the film takes a long time getting to Theo's sudden revelation and the happy ending. You know it's coming but the film seems to take forever getting there.

I liked it. I thought it portrayed the struggles which many of us have. Lana Turner's character is undecided in life about quite a few issues, particularly marriage, though she also seems to have certain ideal views of these subjects. The last half of the movie I thought had the plot thicken so that her ambivalence would indeed make her character get stretched to the testing point. Actually quite a few testing points occur: with longtime boyfriend, husband, girlfriend, etc. After seeing the wreckage in her life and those around her, she does reach some mature decisions.

While we each may not have the same marriage commitment problem this movie showed, we can nonetheless use it as metaphor for our other personal struggles.

The makers of this film had a premise: a woman whose childhood makes her a rather flakey person, a bit unsure of herself, picks one of her many suitors just to see if she can. But from there, the movie forgets drama. Why should she come to embrace marriage? It's not the birth of her son. It's not any one thing that happens to her. There's no plot catalyst in this movie, no psychological edge. It's more like a soap opera, where the characters change for no particular reason.