Abstract

One quality of remarriage comedies is that, for all their ingratiating manners, and for all the ways in which they are among the most beloved of Hollywood films, a moral cloud remains at the end of each of them. And that moral cloud has to do with what is best about them. What is best are the conversations that go on in them, where conversation means of course talk, but means also an entire life of intimate exchange between the principal pair. We are bound to remember from these films, even years after viewing them, something of their sound: of conversation between Cary Grant and Irene Dunne in The Awful Truth, or between Grant and Rosalind Russell in His Girl Friday, or Grant and Katharine in Bringing up Baby, or those two together with James Stewart in The Philadelphia Story, or between Hepburn and Spencer Tracy in Adam’s Rib. We feel that these people know one another, and they know how to play together in a way to make one happy and hope for the best. But the moral cloud has to do with what that conversation is meant to do, and what I say about those films is that the conversation is in service of the woman’s sense of herself as in need of an education. Importantly for that reason, I call her a descendent of Nora in Henrik Ibsen’s A Doll’s House, who in one of the most celebrated moments in modern theater, ends a play by closing a door behind her. She leaves the dollhouse saying to her husband that she requires an education and that he is not the man who can provide it for her. The implication is that since he is not this man, he cannot be her husband. And implying the contrary as well: if he were, then he would be, and their relationship would accordingly—“miracle of miracles”—constitute a marriage. Stanley Cavell is the Walter M. Cabot Professor of Aesthetics and the General Theory of Value at Harvard University. His most recent works include In Quest of the Ordinary: Lines of Skepticism and Romanticism , This New Yet Unapproachable America , and Conditions Handsome and Unhandsome