On his deathbed, Joseph Dunn said to his daughter Irene: "Happiness is never an accident. It's the prize we get when we choose wisely from life's great stores. So don't reach out wildly for this and that and the other thing. You'll end up empty-handed if you do. Make up your mind what you want. Go after it. And be prepared to pay well for it."
"The glamour of Hollywood has never worn thin for me. I'm just as excited today over autograph fans as I was the day I arrived, and just as disappointed if I'm ignored. I still chuckle when I think how chagrined I was one morning in church when the girl next to me spotted Dorothy Lamour sitting in front of us. She leaned forward, asked for Dorothy's autograph, then turned to me saying 'Isn't it exciting to see a movie star!'" THIS IS A MUST SEE VIDEO! FROM THE AWFUL TRUTH
- Get Your Own
- Get Your Own
- Get Your Own
FILMOGRAPHY
It Grows on Trees (1952) as Polly Baxter -
Mudlark, The (1950) as Queen Victoria -
Never a Dull Moment (1950) as Kay -
I Remember Mama (1948) as Mama Hansen -
Life with Father (1947) as Vinnie Day -
Anna and the King of Siam (1946) as Anna Owens -
Over 21 (1945) as Paula Wharton -
Together Again (1944) as Anne Crandall -
White Cliffs of Dover, The (1944) as Susan Dunn Ashwood -
Guy Named Joe, A (1943) as Dorinda Durston -
Show Business at War (1943) as Herself -
Lady in a Jam (1942) as Jane Palmer -
Unfinished Business (1941) as Nancy Andrews -
Penny Serenade (1941) as Julie Gardiner Adams -
My Favorite Wife (1940) as Ellen Arden -
When Tomorrow Comes (1939) as Helen -
Invitation to Happiness (1939) as Eleanor Wayne -
Love Affair (1939) as Terry McKay -
Joy of Living (1938) as Margaret "Maggie" Garret -
Awful Truth, The (1937) as Lucy Warriner -
High, Wide, and Handsome (1937) as Sally Walterson -
Show Boat (1936) as Magnolia -
Theodora Goes Wild (1936) as Theodora Lynn -
Magnificent Obsession (1935) as Helen Hudson -
Roberta (1935) as Stephanie -
Stingaree (1934) as Hilda Bouverie -
Age of Innocence, The (1934) as Countess Ellen Olenska -
Sweet Adeline (1934) as Adeline Schmidt -
This Man Is Mine (1934) as Toni Dunlap -
Ann Vickers (1933) as Ann Vickers -
If I Were Free (1933) as Sarah Cazenove -
No Other Woman (1933) as Anna Stanley -
Secret of Madame Blanche, The (1933) as Sally St. John -
Silver Cord, The (1933) as Christina Phelps -
Back Street (1932) as Ray Schmidt -
Thirteen Women (1932) as Laura Stanhope -
Symphony of Six Million (1932) as Jessica -
Bachelor Apartment (1931) as Helene Andrews -
Cimarron (1931) as Sabra Cravat
Consolation Marriage (1931) as Mary Brown Porter --
Great Lover, The (1931) as Diana Page --
Slippery Pearls, The (1931) as Herself--
Leathernecking (1930) as Delphine Witherspoon
A TRIBUTE TO IRENE AND CARYIRENE SINGS IN JOY OF LIVING...turn up volumeCUTE TRIBUTE VIDEO TO IRENEBEST SCENE FROM SHOW BOAT, with Helen Morgan, Paul Robson, and Hattie McDaniel
She sang, she danced, and she could make em laugh and cry. Irene Dunne had it all. Irene Dunne has got to be one of the most underrated and overlooked stars of the century. How many people today have ever heard of her? It's a gross injustice that this supreme comedienne and very grand lady is largely unknown and certainly underappreciated. None other than Cary Grant himself called her the finest comedienne he ever worked with, a mistress of comic timing and touch. Her lyrical inflections and very musical voice (she was a classically trained vocalist) lent a merry spark to every film she ever made. Mired in heavy melodramas and tearjerkers in the early '30s, Irene's comic talents leaped from the screen for the first time in the sublimely silly "Theodora Goes Wild" in 1936. From that point on, she was widely recognized as one of the screen's finest and funniest comediennes, and her particular brand of subtle hilarity lit up the screen in films like The Awful Truth (1937), the original Love Affair (1939), and My Favorite Wife (1940). You truly have to see and hear Irene in action in order to appreciate her. Words cannot convey the humor of that particular hesitating, under-her-breath laugh, or the insinuating expressiveness of her very mobile face and eyes. As Grant noted, she had an uncanny sense of comic subtlety and timing, and even when the material was less than sparkling (as in Joy of Living (1938)), her talent could still salvage most films.
Here I am with my dearest friend, Loretta Young. And the next one is with Greer Garson.