Richard Dix and Irene Dunne, both from Cimarron, star in this very strange little film about an opera-loving outlaw on the run. Richard Dix happens to meet Irene Dunne and hears her sing. When Mary Boland (who is a total hoot as a self-absorbed patron of the arts and herself), from Greer Garson's Pride and Prejudice, won't let her audition for an influential friend, but only sings herself in her own off-key and shrill way, Dix fixes it so that Irene can audition for the V.I.P., despite the fact he puts himself at risk in doing so. As usual, Dix likes to ham it up, but endears himself at the same time. Ms. Dunne has never sung better in some very dramatic songs. And, what this film may lack in some technical ways and by feeling rather dated and old, it makes up for in originality and presentation. Overall, I liked it, despite its flaws and its incredibly unrealistic ending! Just go with the flow with Stingaree!

A film thought lost turned up a few months ago on TCM and I finally did get to see it. Stingaree is one curious and horribly miscast film which not even the presence of favorites of mine like Henry Stephenson and Mary Boland can save.Set in Australia in the 1870s, specifically in Victoria we don't see as much as one kangaroo in Stingaree. The presence of a lot of sheep being herded is supposed to make us think we're in Australia. When I finally saw The Sundowners which was actually filmed in Australia, I certainly saw the weakness of things like Stingaree made on the RKO back lot.But no Americans companies were location shooting that far in 1934 so I can be charitable there. But stolid Richard Dix is cast in a role that someone like Errol Flynn might have made believable. Or Douglas Fairbanks, Jr., or Tyrone Power or Louis Hayward anyone with that swashbuckling élan. Dix just looks silly up there spouting those romantic nothings.Irene Dunne is the lonely ward of Henry Stephenson and Mary Boland who accompanies Boland because Boland fancies she can sing. And she's going to sing come hell or high water for visiting British composer Geoffrey Tearle. Dunne is told not to emote as much as low A from her range when Tearle's around. But when she mistakes the notorious bandit Stingaree for the composer, they're taken with each other. He kidnaps Dunne and later forces a gunpoint addition for the real composer and it costs him his freedom. The rest of the film is too unbelievable to describe you have to see it to confirm, but not to be entertained. Even Mary Boland who usually can save anything with her flighty portrayals doesn't go over well. It's not in her character to throw Dunne out of the house because she was upstaged. Boland is irresponsible and flighty, but never a mean person on the screen.A lot of forgettable songs are included here and the whole film is best forgotten. Good thing none of the cast is still around to be embarrassed.

TCM presented STINGAREE, a film with Irene Dunne I had never seen, 2 April 2008. The plot can be read elsewhere. I will discuss some of the music in the film and its relation to Irene Dunne.Although the famous Oscar winning composer Max Steiner is credited with the music for two of the songs in the film, the non-Steiner song that is a vital part of the film is: TONIGHT IS MINE, words by Gus Kahn and music by Frank Harling. Recently, I was given an original 1934 copy of the sheet music for this song. This lovely song first appears in the film as a 'music box' is opened by Stingaree about 11 minutes, 53 seconds into the film.Irene first sings this song about 23 minutes 15 seconds into the film. The pitch is a minor third lower than the printed sheet music. The 'music box' is again opened at about 36 min. 46 sec. Irene again sings the song at about 44 min. 40 sec., this time a whole step higher than given in the printed sheet music. The 'music box' is again heard about 49 min. 50 sec.Irene sings THE LAST ROSE OF SUMMER from the opera MARTHA at about 54 min. 10 sec. into the film. The 'music box' is heard for the last time about 59 min. 20. sec. into the film. But the consequence this time is that Irene's character decides NOT to marry Sir Julian Kent.The last operatic aria is the Jewel Song from FAUST by Charles Gounod. Irene transposes the aria down a half step from the original. Geraldine Farrar, reportedly a major influence on Irene's life, sings this aria a half step up from the original in my undated recording.TONIGHT IS MINE is sung by Irene for the last time about 108 min. 15 sec. into the film, again a whole step up from the printed sheet music. Nowhere does Irene sing this lovely song at the pitch used in the sheet music, although pictures of Irene and Richard Dix are on the cover and there is a statement that the music is as sung by Irene to Richard Dix! STINGAREE is a very touching movie in places and is so much more of a film than it would be because of this one song.

Years ago I wrote a fan letter to Irene Dunne listing several titles that I had seen over the years and enjoyed. She wrote back her favorites were the comedies she made with Cary Grant, MY FAVORITE WIFE & THE AWFUL TRUTH. And that's the singing Irene I like the best AWFUL TRUTH (SHOW BOAT, is a close second! Then ROBERTA and JOY OF LIVING.) And speaking of the awful truth, I don't like STINGEREE. I saw it once because of the director, lead actors and wonderful character actors (still I think the best part of this turkey.) The second time was to give it a second chance, and TCM did run a better print, but the story, script and acting don't mix. It's like a salad dressing that continues to separate, oil on top (that's the opera) and vinegar (that's the western) at the bottom of it all. SPOILERS: Richard Dix plays the title-role, of a highwayman and bandit in 1870's Australia, in this strange mix of swashbuckler and musical. Irene Dunne is Hilda Bouverie, an impoverished serving girl who wants to sing. Left orphaned and homeless by the deaths of her parents, Hilda is now a servant in the home of the Clarksons, the wealthiest family in the province. Hilda is glad to have a roof over her head and three meals a day, but won't really be happy unless she gets a chance to sing, and she has the voice to match her aspirations. Mr. Clarkson (Henry Stephenson) is kind and encouraging enough to her, but his wife (Mary Boland) is a noisy, irritating, no-talent singer who treats Hilda and her other maid Annie (Una O'Connor) as little better than slaves; and Mrs. Clarkson is especially jealous of Hilda, as she also aspires to a singing career, and is eagerly awaiting a visit by London-based composer and impresario Sir Julian Kent (Conway Tearle). And then in rides Stingaree (Richard Dix), a highwayman new to the province, who is already a legend elsewhere in Australia. The authorities, led by the boorish Inspector Radford (George Barraud), know he is there and are set to catch him, but he's smarter than they are and faster on his feet, and outwits them. Stingaree kidnaps Sir Julian and, learning of the Clarksons and their wealth, plans to rob them masquerading as Sir Julian. But when he chances to hear Hilda singing, and gets to meet her, he abandons his plan and, instead, decides to help her — his ruse is uncovered, however, and he is forced to flee, and takes the unwilling girl with him. Together in his lair in the forest, Hilda discovers that Stingaree truly does love/lust after her — he is a man who takes whatever he wants and wants everything, but, as he tells her, "You are as safe here as you wish to be." Stingaree arranges a daring raid on the Clarkson home that allows Hilda's singing to be heard by Sir Julian — the impresario offers her the chance to go to London, and at a career as an opera singer. She's reluctant to accept because Stingaree has been captured, but the highwayman insists that she do it, telling her that he happily gave up his freedom to give Hilda hers. And she conquers the operatic stages of Europe, in a career that takes her to Berlin, the Paris Opera, La Scala, and London's Covent Garden, and leading roles in Trovatore, Martha, and the rest of the major operatic repertory of the period. But she can't forget the sacrifice that Stingaree made for her, or the love they share for each other, and decides that even if it means giving up everything, she must return to Australia to find him. Or at least a point to this rambling and contrived love story...