Directed by George Stevens and starring Cary Grant and Irene Dunne, PENNY SERENADE was among the most admired films of 1941. But it seems the film has now drifted into public domain, and the result is incredibly dire: a very muddy soundtrack coupled to a picture that shudders and shakes so that you can barely stand to look at it.<br /><br />This a great pity, for PENNY SERENADE is a fine film that deserves much better. The concept is simple: as wife Julie (Irene Dunne) packs to leave her husband Roger (Cary Grant), she plays the various records the two have collected over the years. Each recording recalls the various phases of their lives: their chance meeting, their rather unexpected marriage, early years spent in the far east. But they are unhappy in their inability to have a child--and so they return to the United States to adopt. But their happiness ends in tragedy, a tragedy which neither seem able to surmount.<br /><br />The story is sentimental melodrama, of course, but it transcends its own genre. George Stevens was one of the great directors of Hollywood's golden age--director of such diverse classics as A PLACE IN THE SUN, SHANE, and WOMAN OF THE YEAR. In lesser hands the film might have been reduced to pure soap, but he strikes the perfect balance between charm and tearfulness. The leads are equally perfect, with both Irene Dunne and Cary Grant (who were memorably teamed in such frantic screwball comedies MY FAVORITE WIFE and THE AWFUL TRUTH) discarding their broad comedic skills in favor of plausible humor and sincerity. The supporting cast, which sports nice performances by the likes of Beulah Bondi and Edgar Buchanan, is also very fine, the script is quite good, and the cinematography both functional and elegant.<br /><br />But all this counts for nothing if you cannot actually stand to watch the truly awful VHS and DVD versions available. And they really are that bad. Over the years I've picked up several copies of this film released by several companies--Madacy, Laserlight, and most recently Front Row--and although the transfers vary a bit from company to company they are never more than extremely bad and quite often down-right unwatchable. This is a film in desperate need of restoration, and until it receives that you're better off looking for it on the late-late show--for I can almost guarantee that the print you will find there will be superior to virtually any home-market release you can lay hands on.<br /><br />Gary F. Taylor, aka GFT