Hellen I like the storyline of this show,it attract me so much

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Neil Doyle IRENE DUNNE may have had a blossoming film career that led to much better things in the '40s, but her early '30s films were potboilers and this sophisticated comedy among the idle rich is one of them.It's a thin comedy about a catty woman who threatens the happiness of IRENE DUNNE and RALPH BELLAMY, coming between them to the point where Dunne is all ready to sue for divorce until the woman (CONSTANCE CUMMINGS) turns to SIDNEY BLACKMER for her marriage partner. The script is full of catty one-liners but none of it is worthy of Dunne's presence. She did much better with screwball comedy material that came later.A serious waste of time with a weak first half-hour that only picks up steam when Constance Cummings enters the scene. Ralph Bellamy is a bore as a bumbling husband in one of his rare leading man roles.Summing up: Only for serious Irene Dunne fans.

lianfarrer This film was described as a comedy on the cable station listing, and with a cast that includes those great screwball stars Irene Dunne and Ralph Bellamy (see "The Awful Truth"), I expected a light and zany marital farce. Far from it. Despite the nonstop string of quips, clever insults, and arch comments, this film is at its core a rather cynical and serious take on the institution of marriage. Given that it was directed by John Cromwell, I guess I should have anticipated that there'd be something more substantial lurking under the glossy comic veneer.Things start straying from the formula-comedy path in the very first scene. When hubby Ralph talks to his doting wife Irene, the expected marital banter soon devolves into a rather distasteful display of selfish rudeness on his part. There's not the slightest glimpse of any qualities that would make his wife so devoted to him. His subsequent behavior with old flame Constance Cummings stamps him indelibly as a cad and a fool. Still, I expected him to come to his senses after one night's infidelity and do something noble to win back Irene. But he kept on behaving like such a louse that I found myself rooting for her not to take him back.... even though I knew this was not likely to happen in a Hollywood film from this era, especially when the couple in question had a child.Another noteworthy departure from the standard-issue Hollywood formula is the affair between bad-girl Constance Cummings' character and the character portrayed by Sidney Blackmer. It's made quite explicit that she had picked him up under disreputable circumstances and that they have some sort of kinky relationship going on. Blackmer manages to show us a man who is suave, creepy, and admirable in one package.(He may behave amorally, but at least he's honest about it.)Meanwhile, I was surprised and delighted to hear two strong, intelligent, independent-minded female characters (Irene Dunne's and Kay Johnson's) expressing some rather enlightened ideas about marriage and womanhood. No doubt this had something to do with the fact that both the screenplay and the play upon which it was based were written by women. As the film progressed, I began to hope for something truly revolutionary: that Irene would dump her unworthy husband even if he decided to return to her. If I'm not mistaken, she looks like she's not completely surrendering to him in the final clinch that closes the film. The ending is not the definitive feminist statement I was hoping for, but it's just ambiguous enough to leave the door open for that sort of interpretation if you're inclined to see it that way. It's a great illustration of how "Pre-Code" signifies much more than overt sexuality and "immoral" behavior; had "This Man Is Mine" been made just one year later, there's no doubt Irene would have pulled the noble self-sacrifice routine to win back her boorish husband, if only for the sake of their child.This is an original, deftly-written film that keeps you guessing throughout. I appreciated the attention given to creating interesting, complex characters—even the minor ones have distinctive personalities and quirks. And hooray to the scriptwriter, director, and Ralph Bellamy for not trying to show in the end that his character is a great guy underneath it all! Performances by just about the entire cast are nuanced and compelling, with the three leading ladies meriting special praise.Those who view this film as a lesser version of "The Women" are I think missing the point.... there's a lot more going on here than the bitchy (albeit well-written) catfights. Give it another look and see if you agree.

David (Handlinghandel) This has a great cast. Ralph Bellamy is always good and here he is not an object of ridicule. Of course, I watched it for Irene Dunne. And she is the fulcrum of the piece, looking mousy but acting like a tigress. Sidney Blackmer, who became a distinguished stage actor, is convincing and quite attractive as a rich bad boy.The two standouts are Kay Johnson as Dunne's sister-in-law and the fine actress, also a marvelous stage performer many years later, Constance Cummings.The Cummings character is the best developed and most interesting. Just back from a divorce and ready for trouble, she is like a character from "The Women." Her role is a bit more well rounded than the characters in that movie.

drednm There are three terrific women's roles in this nifty little comedy/drama that stars Irene Dunne as a loving wife whose husband (Ralph Bellamy) gets involved with an old girlfriend (Constance Cummings). There's nothing new in the plot here, but the dialog is sharp, funny (catty), and fast paced. Dunne is super and gets to show off her comic and musical talents as well as her dramatic chops. Cummings is wonderful as the bitch girlfriend who uses men like Kleenex. Bellamy is solid in a rare starring role as the dumb-cluck husband. Kay Johnson (the star of early DeMille talkies) has a great role as the droll neighbor. Sidney Blackmer is terrific as a smarmy boyfriend Cummings is stringing along. Charles Starrett (usually seen in Westerns), Vivian Tobin, and Louis Mason are good in support. But what really lifts This Man Is Mine a cut above other women's pictures of the day is the stingingly funny dialog among the three female stars. It's a total joy to watch Dunne, Cummings, and Johnson snap and claw at each other in a vein similar to The Women and First Lady (an underrated Kay Francis comedy). I still think Irene Dunne may have been the most versatile actress of the 1930s, and gorgeous Constance Cummings should have been a much bigger star. This film is not to be missed!