Main Cast: Carole Lombard, Cary Grant, Kay Francis, Charles Coburn, Katherine Alexander, Helen Vinson
Release Year: 1939
Country: US
Run Time: 102 minutes
MPAA Rating: NR
Plot
Based on Memory of Love, a novel by Bessie Breuer, In Name Only is soap opera par excellence, blessed with a peerless cast. Carole Lombard plays widow Julie Eden, who meets and falls in love with unhappily married Alec Walker (Cary Grant). Having married Alec solely for his wealth and family prestige, his manipulative wife, Maida (Kay Francis), has managed to convince everyone -- even Alec's parents -- that she is the victimized one and that Alec is an irresponsible philanderer. Making matters worse, Maida refuses to give Alec a divorce so that he can find happiness in the arms of the sweet, unassuming Julie. Almost miraculously, Maida agrees to let Alec go, only to capriciously renege at the last minute and sue Julie for alienation of affections. Disconsolately, Alec goes on a bender, falling asleep in front of an open window and contracting pneumonia. As Alec lays seriously ill in a hospital bed, Julie tearfully agrees to give him up if only Maida will try to make him happy. But Maida isn't about to give up this moment of triumph, cheerfully bragging about her underhanded methods and her intention to take Alec for every penny that he has. Without giving away the outcome, it can be noted that, figuratively speaking, loose lips sink ships. Though In Name Only could have been a wallow in bathos, the performances by the stars -- and the knowing direction of John Cromwell -- elevate the production to the level of "romance classic." ~ Hal Erickson, All Movie Guide
Review
Although one might have expected a film containing screwball experts Cary Grant and Carole Lombard to be a riotous comedy, In Name Only turns out to be a tear-jerking melodrama instead. It's not bad, as weepies go, but it's not as special as it should be either, given the impressive cast. The fault lies with the screenplay, which is turgid and overblown, even for the genre. While the basic premise is workable and believable, its execution results in twists and turns that are forced and unacceptable. This is especially true where the character of Maida is concerned. The writers have made her so conniving and contemptuous that she unbalances the story. Fortunately, she is played deliciously by Kay Francis, who practically steals the picture with her gloriously self-centered performance. This is not to slight Grant and Lombard, both of whom are in top dramatic form and elevate the film far above its script. John Cromwell's direction also adds spark to the film, and he uses his sure technique to milk every last tear from the viewer. Indeed, Cromwell and the cast make sure that plenty of handkerchiefs are needed by viewers, even those who will feel guilty for crying at such blatant manipulation. ~ Craig Butler, All Movie Guide
Perry Ferguson - Art Director, Van Nest Polglase - Art Director, Irene - Costume Designer, Edward Stevenson - Costume Designer, Dewey Starkey - First Assistant Director, John Cromwell - Director, Willaim Hamilton - Editor, Roy Webb - Composer (Music Score), Roy Hunt - Cinematographer, George Haight - Producer, Darrell Silvera - Set Designer, Vernon Walker - Special Effects, Hugh McDowell, Jr. - Sound/Sound Designer, Richard Sherman - Screenwriter, Bessie Breuer - Book Author
Prosperous Alec Walker (Cary Grant) puts up with a loveless marriage to Maida (Kay Francis) until he meets widow Julie Eden (Carole Lombard). They fall in love and he asks his wife for a divorce. She refuses; she married him solely for his social position and wealth and won't give them up. Though he knows it, she is such a skillful liar, she has his parents (Charles Coburn, Nella Walker) convinced that Julie is the fortune hunter, out to destroy the marriage.
Julie breaks up with Alec since she cannot see any future with him. On Christmas Eve, a distraught Alec gets drunk, falls asleep in a hotel room in front of an open window, and catches pneumonia. At the hospital, Dr. Muller (Maurice Moscovitch) tells Julie and Alec's father that the patient is likely to recover if he has the will to live. Julie lies to Alec, telling him that Maida will let him go.
When Maida shows up and tries to see Alec, Julie blocks her. With no one else in the room, Maida freely admits she gave up the man she really loved for Alec's position and his father's wealth. However, Alec's parents enter behind her and overhear her cold-blooded admission. Maida's plotting exposed, the path to Alec and Julie's happiness is now clear.
According to Robert Osborne, the film was intended to reteam Katharine Hepburn and Cary Grant. However, the disastrous reception of Bringing Up Baby led to Hepburn being considered "box office poison" and Lombard being cast instead.
