THE FEMININE TOUCH
US, 1941, 97 minutes, Black and white.
Rosalind Russell, Don Ameche, Kay Francis, Van Heflin, Donald Meek, Henry Daniell, Sidney Blackmer, Grant Mitchell.
Directed by W.S. Van Dyke.
The Feminine Touch might have seemed very effective on paper. It also has a very strong cast. However, it seems rather odd, especially with Rosalind Russell’s character – with Russell always seeming secure and confident – being a woman who is not confident, self-deprecating as regards her intellectual capacities, wanting her husband to have bouts of jealousy so that she could be reassured that he loved her. This does not sound like Rosalind Russell – who goes through her role reciting the words but simply presenting her strong character. Don Ameche was much more at home in this kind of role – a university professor, lacking a sense of humour, who had written a very serious book about jealousy. Kay Francis, so popular in the 1930s, is the associate editor of the publishers, Van Heflin, in an early role, is the publisher – and was to get an Oscar for best supporting actor in Johnny Eager at this time.
The film had several writers – and, perhaps, there was too much writing, too much dialogue for this kind of screwball comedy. There are some funny moments – especially when one considers that one of the contributors to the screenplay was Ogden Nash.
The film was made with MGM style – whereas it needed much more of the rough and tumble of screwball comedies from other studios. Direction is by W.S. Van Dyke, a regular director at MGM of a whole range of films. Perhaps this kind of comedy was not his forte either.
1. A film of 1941? The tradition of screwball comedy? The battle of the sexes?
2. MGM production values, locations, costumes and gowns? The polish and style of MGM? The musical score?
3. The title, as it applied to Julie and her self-professed ignorance? Her handling of her husband? The contrast with Nellie and her sophisticated publishing style? The reaction to the feminine touch by John, by Elliott?
4. The focus on John, his being bored with his students, their being bored with him? The issue of Rubber-Legs? Ryan? The football team at the college? The dean of the college and the interview about Rubber-Legs? John and his attitude towards education, towards sport? His decision to give up his position and move away to New York?
5. John and Julie, the happy marriage? John and his writing the book about jealousy? Theoretical? Julie, her relationship with her mother, being away, Rubber-Legs? and his infatuation, driving her home? The happy husband and wife? Julie a very feeling person? John the intellectual?
6. Their going to New York, the hopes for the book, the manuscript, going to the publishers, the encounter with Nellie and her response to John? Julie waiting, seeing Elliott through the keyhole, letting him out? Elliott as the henpecked publisher?
7. Going away to the country house? Nellie and her attraction to John, his ideas, wanting to focus on part of his book? John and his being oblivious of Nellie – but responding to her attentiveness?
8. Elliott, his beard, Julie’s dislike of beards, his attraction towards her? Her playing with him? Her wanting John to be jealous?
9. The build-up to the jealousy? Julie and her decision to leave John? Her talk about her ignorance, not understanding intellectual ideas? John and his outburst of jealousy, not realising it – and his chasing Elliott around the tree? Elliott and his shaving his beard – and John’s response?
10. Captain Liveright, the island, the boat, John falling in the water, the boat going to the mainland? Captain Liveright and his trying to help with the difficulties?
11. The background of New York society, the critic, the lawyers, the background of college deans? Publishers?
12. A film of dialogue rather than comic action? The heavy-handedness – and the film not matching the humour and style of other screwball comedies?
