User Reviews

Fast paced and pretty good dialogue throughout, plus runs about 1 hr 15 min.

The women are given the best lines -- sharp, funny, and often catty. Though their characters are quite minor to the story, I enjoyed the lines between husband and wife Slim and Rita, or "Cookie" and "Pookie" as they called each other. It was quite funny to hear them call each other by such cute little pet names, followed by a jab or barb or criticism! I don't think they said one nice thing to each other! The other supporting couples in the flick were always snapping at each other too -- Bea and Jud, and Fran and Mort.

The two main characters, Toni and Jim, are very much in love and exhibit some nice friendly banter at the beginning of the movie. This doesn't last for long as Jim's ex-fiancé, Fran, breezes into town, freshly divorced with a new dude already lined up (Mort) and setting her sights on winning Jim back ... not permanently, just for a night. Constance Cummings is great as Fran! Toni suffers through Jim's infidelity and even forgives him as she wants to save her marriage and her family (they have a 2-yr-old boy). Eventually, however, she decides she's had enough and files for divorce.

What's interesting (and one of the reasons I like to watch these older movies) is the glimpse we get into how things were done back in the day. Jim asks Toni where she filed for divorce, and is aghast to learn she filed in the state they live in. From what I can gather, she could've run off to Reno (as Fran did, and as so many women in films from the 1930s did, and get what amounts to a 'no fault' divorce). But, since Toni filed in the state they lived in (New York?) where there was only one grounds for divorce - infidelity - this required her to name a 'correspondent' (i.e., the outside party whom the spouse cheated with). Fran is quite upset to learn that Toni has filed in state and has named her as the correspondent. I really enjoy these little snippets into how life used to be long before I was born. It adds to the enjoyment of the movie somehow, a little history lesson along with my entertainment.

Anyways ... back to the movie. Fran doesn't want to be involved in a scandal and, in addition, has since learned that Mortie is stinking rich, so she ups and marries him, hoping this will dissuade Toni from divorcing Jim (and naming Fran as correspondent). Jim comes crawling back to Toni and the movie ends with them kissing (presumably Toni's going to take him back). I'd have liked to see Toni kick Jim to the curb, but alas it looks like she's going to take him back instead.

Toni was played wonderfully by Irene Dunn, and Jim was played by Ralph Bellamy. It was nice to see what the old coot from Trading Places looked like back when he was a young man.

Pretty good, not great, but I wasn't disappointed that I watched it either. This movie appears on TCM (Turner Classic Movies) every once in a while.

This film was described as a comedy on the cable station listing, and with a cast that includes those great screwball stars Irene Dunne and Ralph Bellamy (see "The Awful Truth"), I expected a light and zany marital farce. Far from it. Despite the nonstop string of quips, clever insults, and arch comments, this film is at its core a rather cynical and serious take on the institution of marriage. Given that it was directed by John Cromwell, I guess I should have anticipated that there'd be something more substantial lurking under the glossy comic veneer.

Things start straying from the formula-comedy path in the very first scene. When hubby Ralph talks to his doting wife Irene, the expected marital banter soon devolves into a rather distasteful display of selfish rudeness on his part. There's not the slightest glimpse of any qualities that would make his wife so devoted to him. His subsequent behavior with old flame Constance Cummings stamps him indelibly as a cad and a fool. Still, I expected him to come to his senses after one night's infidelity and do something noble to win back Irene. But he kept on behaving like such a louse that I found myself rooting for her not to take him back.... even though I knew this was not likely to happen in a Hollywood film from this era, especially when the couple in question had a child.

Another noteworthy departure from the standard-issue Hollywood formula is the affair between bad-girl Constance Cummings' character and the character portrayed by Sidney Blackmer. It's made quite explicit that she had picked him up under disreputable circumstances and that they have some sort of kinky relationship going on. Blackmer manages to show us a man who is suave, creepy, and admirable in one package.(He may behave amorally, but at least he's honest about it.)

Meanwhile, I was surprised and delighted to hear two strong, intelligent, independent-minded female characters (Irene Dunne's and Kay Johnson's) expressing some rather enlightened ideas about marriage and womanhood. No doubt this had something to do with the fact that both the screenplay and the play upon which it was based were written by women. As the film progressed, I began to hope for something truly revolutionary: that Irene would dump her unworthy husband even if he decided to return to her. If I'm not mistaken, she looks like she's not completely surrendering to him in the final clinch that closes the film. The ending is not the definitive feminist statement I was hoping for, but it's just ambiguous enough to leave the door open for that sort of interpretation if you're inclined to see it that way. It's a great illustration of how "Pre-Code" signifies much more than overt sexuality and "immoral" behavior; had "This Man Is Mine" been made just one year later, there's no doubt Irene would have pulled the noble self-sacrifice routine to win back her boorish husband, if only for the sake of their child.

This is an original, deftly-written film that keeps you guessing throughout. I appreciated the attention given to creating interesting, complex characters—even the minor ones have distinctive personalities and quirks. And hooray to the scriptwriter, director, and Ralph Bellamy for not trying to show in the end that his character is a great guy underneath it all! Performances by just about the entire cast are nuanced and compelling, with the three leading ladies meriting special praise.

Those who view this film as a lesser version of "The Women" are I think missing the point.... there's a lot more going on here than the bitchy (albeit well-written) catfights. Give it another look and see if you agree.

There are three terrific women's roles in this nifty little comedy/drama that stars Irene Dunne as a loving wife whose husband (Ralph Bellamy) gets involved with an old girlfriend (Constance Cummings). There's nothing new in the plot here, but the dialog is sharp, funny (catty), and fast paced. Dunne is super and gets to show off her comic and musical talents as well as her dramatic chops. Cummings is wonderful as the bitch girlfriend who uses men like Kleenex. Bellamy is solid in a rare starring role as the dumb-cluck husband. Kay Johnson (the star of early DeMille talkies) has a great role as the droll neighbor. Sidney Blackmer is terrific as a smarmy boyfriend Cummings is stringing along. Charles Starrett (usually seen in Westerns), Vivian Tobin, and Louis Mason are good in support. But what really lifts This Man Is Mine a cut above other women's pictures of the day is the stingingly funny dialog among the three female stars. It's a total joy to watch Dunne, Cummings, and Johnson snap and claw at each other in a vein similar to The Women and First Lady (an underrated Kay Francis comedy). I still think Irene Dunne may have been the most versatile actress of the 1930s, and gorgeous Constance Cummings should have been a much bigger star. This film is not to be missed!

This is a pot boiler from the thirties but is worth seeing because of Irene Dunne. She had the most impeccable comedic timing of any actress. Nominated for best actress five times she never won an Oscar, a real injustice. The Academy never honored her with a lifetime achievement award either. The script is witty and somewhat daring for its time. There is implied adulterous sex. I enjoyed seeing Charles Starrett in a supporting role. He later became famous in B westerns as the Durango Kid. Sidney Blackmer was also featured and he is best remembered as Roman Castevets the warlock in Rosemary's Baby. Take a bite of this confection; it is short sweet and to the point.

This has a great cast. Ralph Bellamy is always good and here he is not an object of ridicule. Of course, I watched it for Irene Dunne. And she is the fulcrum of the piece, looking mousy but acting like a tigress. Sidney Blackmer, who became a distinguished stage actor, is convincing and quite attractive as a rich bad boy.

The two standouts are Kay Johnson as Dunne's sister-in-law and the fine actress, also a marvelous stage performer many years later, Constance Cummings.

The Cummings character is the best developed and most interesting. Just back from a divorce and ready for trouble, she is like a character from "The Women." Her role is a bit more well rounded than the characters in that movie.

Based on a play, "This Man is Mine" is a 1934 film directed by John Cromwell and starring Irene Dunne, Ralph Bellamy, Constance Cummings, Kay Johnson, and Sidney Blackmer.

Dunne plays Tony Dunlap, who for 4-1/2 years has been married to Jim, and they have a little boy. They are very happy. Then they learn that femme fatale Fran Harper is back in town. Fran left Jim at the altar, so she's a sore subject. Tony makes no attempt to keep her husband and Fran separated, and Fran, a beautiful glamor girl, immediately makes a play for her ex-beau. Within five minutes, he's making out with her and ready to divorce his wife and leave his child. Pretty ridiculous. Tony agrees to give him a divorce in six months, if that's what he still wants. Of course she knows in six months he'll want no such thing, but for some reason she wants to keep him around.

It goes on from there. This is a weak play with two not very believable characters, the obvious Fran and Jim, although I suppose it could be argued that as obvious as Fran is, you couldn't expect a dummy like Jim to see it.

Dunne does a great job as a smart woman who's in love and takes the clever road. She could be applauded if she weren't married to someone who doesn't deserve her.

Cummings, a wonderful actress, looks gorgeous and plays her part to the flirtatious hilt. Though she never liked Hollywood and eventually returned to both the theater and her native England, she was always a pleasure to watch. In the late '70s, she did a play, Wings, on Broadway and on tour about a stroke victim and had great success. She worked until 1986, when she was about 80, and died when she was 90. A shame she didn't make more movies.

Despite poorly fleshed-out characters and an unrealistic scenario, "This Man is Mine" is enjoyable for Dunne and Cummings, and also Sidney Blackmer in a decent role, years before he played Roman Castavet in Rosemary's Baby.

The idle rich have little to occupy their time but playing cards and seducing each other's spouses. At least that is what the characters in "This Man is Mine" suggest. This short tired tale of marital infidelity, adapted from a play, retains its staginess and does not merit the presence of Irene Dunne in the central role. Despite her talent and beauty and voice, Dunne as Tony Dunlap fails to convince viewers that her character would try to save a worthless marriage to Jim Dunlap, played by Ralph Bellamy. Bellamy evidently has retained suppressed feelings for a former flame throughout his marriage to Dunne, with whom he has had a young son. When the former girlfriend arrives on the scene to rekindle her romance with Bellamy, the film's fragile grip on credibility crumbles. Although Constance Cummings as Francesca is an amusing conniving tart, the transparency of her character and motives makes Bellamy look like an utter idiot when he returns her advances. Viewers may be forgiven for shouting "you blithering fool" and throwing tomatoes at the screen when Bellamy falls for Cummings's tricks, especially when the other characters on screen easily see through her. Bellamy's character must have inherited wealth, because there was no way this gullible dimwit could make his way in the business world. As a father, he is ready to toss away his child for a shallow man hunter. He does not deserve Irene Dunne's attention, let alone her hand and devotion. By the final frame, "This Man is Mine" has descended into completely incredible nonsense. Only the performances of Dunne and Cummings and the handsome presence of future western star Charles Starrett offer any reason to see this annoying trifle.

IRENE DUNNE may have had a blossoming film career that led to much better things in the '40s, but her early '30s films were potboilers and this sophisticated comedy among the idle rich is one of them.

It's a thin comedy about a catty woman who threatens the happiness of IRENE DUNNE and RALPH BELLAMY, coming between them to the point where Dunne is all ready to sue for divorce until the woman (CONSTANCE CUMMINGS) turns to SIDNEY BLACKMER for her marriage partner. The script is full of catty one-liners but none of it is worthy of Dunne's presence. She did much better with screwball comedy material that came later.

A serious waste of time with a weak first half-hour that only picks up steam when Constance Cummings enters the scene. Ralph Bellamy is a bore as a bumbling husband in one of his rare leading man roles.

Summing up: Only for serious Irene Dunne fans.

A young married couple (Irene Dunne and Ralph Bellamy) have their union threatened when his old girlfriend (Constance Cummings) shows up freshly after having gotten a divorce. The wife's friend (Kay Johnson) provides moral support and tries to look out for her.

Despite a decent premise and the three strong female actors who all perform well in their roles, the way the story plays out is bound to irritate modern viewers, say what you will about it providing a window into the time period. The film is only 76 minutes long so while maddening, it's somewhat forgivable that the husband's head is completely turned so quickly, despite his saintly wife being so tolerant of his less than ideal nature (among other things, he jokes that she's getting fat early on). And there is a moment where she asserts herself and begins playing hardball with him and his old girlfriend, one that looked promising, but unfortunately it doesn't last.

The ending is disappointing as hell but not too surprising, and I wouldn't have actively disliked the film as much as I did for it alone, but two quotes capture aspects that sent it over the edge for me:

1. On the husband's adultery, from her friend: "Look here, Tony. You'll see Jim through pneumonia, typhoid, or even something as loathsome as smallpox, wouldn't you? ... Well, Fran is sort of a cross between a tidal wave and a smallpox epidemic, but she'll pass."

2. On a woman's black eye, from the wife: "How lovely. But I think it highly probable that every now and again Romeo took a little poke at Juliet."

The first emphasizes the central message of the film, that a wife should simply endure her husband's infidelity because it's natural. Nothing at all is said about her own sexual desires, because she's cast in the role of the saint, whereas the "other woman," the man-eating Cummings, is a devil. In this respect, this pre-Code film feels more like something from the Production Code era (and indeed, despite the indiscretion of staying out late with the girlfriend, the film explains that they haven't actually had sex, which certainly looks like it has Joseph Breen's fingerprints on it). The second quote has a woman explaining away a man's violence to another woman, that it's natural and sometimes called for, which is difficult to stomach.

There are other little annoying bits, such as the husband saying that the wife has psychologically projected her issues with her mother onto the whole thing, and this is clearly the film's view as well. Bellamy's character is just so damn unlikeable, but his meanness, adultery, violence, and gaslighting are all given such a cloak of respectability. It's a shame, because seeing Irene Dunne sing, Kay Johnson dole out world-weary advice, and Constance Cummings manipulate everyone around her made for some entertaining moments.

Really dislike these early 30s marital melodramas based on stage plays so creaky that you can almost hear the groaning of the proscenium.