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!
21 Reviews
Preposterous, but enjoyable
mgconlan-122 April 2007
Based on a story by "Raffles" creator E. W. Hornung (brother-in-law of Sir Arthur Conan Doyle), directed by William A. Wellman and promoted as reuniting Irene Dunne (billed first this time) and Richard Dix from the cast of RKO's blockbuster "Cimarron," "Stingaree" is a ridiculous film but also an enjoyable one if you don't take it too seriously. True, it doesn't play to Wellman's strengths as a director (as the awesome, woefully underrated "Safe in Hell" had done a year earlier) or to Irene Dunne's talents as a comedienne, but her singing (her own voice; she was a fully trained operatic mezzo-soprano and had auditioned for the Met before signing with RKO) is gorgeous. Plot-wise this seems like a beta version of a Jeanette MacDonald-Nelson Eddy film all it needed was a male star who could sing (or a voice double for Richard Dix) and though the promise of the first reel that it was going to be "Cimarron" in Australia was not fulfilled, it was still a lot of fun. Incidentally, I wondered if any of it was inspired by the life of real-life diva Nellie Melba, the first international opera star to come from Australia. (There's been at least one other since: Joan Sutherland.)
Singing servant girl discovered by outlaw music lover
csteidler22 September 2012
Australia, 1874. The famous bandit Stingaree is in the neighborhood; the prominent London music producer, Sir Julian Kent, is also visiting. Everyone is excited:
Mrs. Clarkson (Mary Boland), the nutty (and annoying) lady of the vast Clarkson estate, is determined that she will impress Sir Julian with her singing. Mr. Clarkson (Henry Stephenson) is not so sure, but he is curious to see the famous Stingaree.
Servant girl Hilda dreams of singing for Sir Julian herself—but Mrs. Clarkson is banishing her to the neighbors' during his visit. Hilda is crestfallen .might Sir Julian have been her once chance of escape from this lonely life?
Irene Dunne is wonderful as Hilda, and her performance makes this picture worthwhile. When she sits down at the piano, thinking herself alone, and sings—what a beautiful song, and scene.
Richard Dix is rugged yet refined as Stingaree, the dashing and notorious outlaw. He excels at disguises, takes bold risks and has a keen appreciation for music. One very exciting moment: he's leaving in a hurry, cops in pursuit — he races toward the front door — sees Dunne standing there — picks her up in his arms and carries her off with him!
Andy Devine plays it fairly straight as Stingaree's loyal sidekick, Howie. (Neither Dix nor Devine attempts to sound remotely Australian or English, by the way—with the exception of Devine's hilarious phony accent when helping set up a robbery.) Conway Tearle is the devoted and reliable Sir Julian—it's a good performance but the role doesn't offer much except bland sincerity and mild passion.
The plot is outrageously silly—a suave criminal with a musical ear finds a girl in the sticks who sings like an angel and he risks life and limb to promote her career.
Nevertheless, the picture certainly has its moments. It's not every 1930s operetta-style musical that is highlighted by its songs, at least not to my taste but Irene Dunne's singing really is most excellent, and she creates a character we do want to cheer for. A couple of neat plot turns offer pleasant surprises right up to the rather abrupt but satisfying ending.
Odd—but entertaining.
Mrs. Clarkson (Mary Boland), the nutty (and annoying) lady of the vast Clarkson estate, is determined that she will impress Sir Julian with her singing. Mr. Clarkson (Henry Stephenson) is not so sure, but he is curious to see the famous Stingaree.
Servant girl Hilda dreams of singing for Sir Julian herself—but Mrs. Clarkson is banishing her to the neighbors' during his visit. Hilda is crestfallen .might Sir Julian have been her once chance of escape from this lonely life?
Irene Dunne is wonderful as Hilda, and her performance makes this picture worthwhile. When she sits down at the piano, thinking herself alone, and sings—what a beautiful song, and scene.
Richard Dix is rugged yet refined as Stingaree, the dashing and notorious outlaw. He excels at disguises, takes bold risks and has a keen appreciation for music. One very exciting moment: he's leaving in a hurry, cops in pursuit — he races toward the front door — sees Dunne standing there — picks her up in his arms and carries her off with him!
Andy Devine plays it fairly straight as Stingaree's loyal sidekick, Howie. (Neither Dix nor Devine attempts to sound remotely Australian or English, by the way—with the exception of Devine's hilarious phony accent when helping set up a robbery.) Conway Tearle is the devoted and reliable Sir Julian—it's a good performance but the role doesn't offer much except bland sincerity and mild passion.
The plot is outrageously silly—a suave criminal with a musical ear finds a girl in the sticks who sings like an angel and he risks life and limb to promote her career.
Nevertheless, the picture certainly has its moments. It's not every 1930s operetta-style musical that is highlighted by its songs, at least not to my taste but Irene Dunne's singing really is most excellent, and she creates a character we do want to cheer for. A couple of neat plot turns offer pleasant surprises right up to the rather abrupt but satisfying ending.
Odd—but entertaining.
Forgotten Classic Hybrid
tashman28 February 2002
STINGAREE was the first of the great Irene Dunne musicals: SWEET ADELINE; ROBERTA; SHOW BOAT; HIGH, WIDE, & HANDSOME; and JOY OF LIVING, count em, six films (aside from 1930's LEATHERNECKING, but no one counts that!) is all you got. How can that be? She's my favorite! She sang in other pictures, but these six were the full-blown star vehicles for Kern's favorite movie soprano. Without a doubt, STINGAREE is the strangest, and, oh yeah, Jerome Kern is no where to be heard. We get some "Martha" and "Faust," and mostly several reprisals of a song called "Tonight is Mine," written by the talented Australian bandit, the Stingaree, himself. He let's her have this song, dedicated to her, and thus sets her on her path to international Opera acclaim. Sure, she is assisted by impresario Conway Tearle, and along the way we meet dignitaries and governors and even Disraeli, but no one can ever touch her true heart like the Stingaree could. And why not, after all, it is RKO's resident veteran stud, the Rod Taylor of the Twenties, Mr. Richard Dix who is portraying the dashing, debonaire, and musically inclined robs-from-the-rich, etc, legend. We get the music, the scenery, the costuming, the lush period detail, the horses, the chases, the fisticuffs, the... hey, what is this, a Richard Dix western, or is it one of the great Irene Dunne musicals? Well, there you have it. Based on E. W. Hornung's (RAFFLES) novel, STINGAREE is one of the most neglected, forgotten hybrids of the decade. It was screened in Syracuse last year, and while everyone questioned the reasoning behind its creation, all agreed it was an unusual, entertaining achievement. For STINGAREE is, in fact, a rather exciting (if fabulously improbable) action picture AND a desert topping. It was one of the big RKO releases of that season, and as such, boasts the best the studio could muster, and this included some important character work by some of our finest, including Andy Devine as Mr. Dix's (and the pictures') comedy relief side-kick (another vote for "it's a western"). Henry Stephenson (DOUBLE HARNESS; HEARTS DIVIDED; CONQUEST), not to be confused with another marvelous actor, James Stephenson (THE LETTER), is on hand to play the husband of a flighty, self-important woman who attempts to stand in poor Irene Dunne's way, and who else could portray such a woman but the great Mary Boland? Not simply a pitiful comedic plot device, Boland's fearless performance blends the charming and the likeable (and often purposefully annoying) Mary Boland, with un-reigned egoism, calculated duplicity, and an unexpected Agnes Moorehead-level guile. Let's hope they can find the funding to restore this classic!
A little bit of all genres in this fairy tale film
SimonJack4 November 2019
"Stingaree" is a comedy romance with drama, mystery, crime and even music. Much of it takes place in the wilds of Australia, so one might consider it also a Western. Then there's a fairy tale aspect of the mean step mother and the oppressed girl. It struck me also as a sort of Robin Hood of the bush. One can see bits of all sorts of genres in this film. It's a sort of swashbuckler romance with an outlaw and a fair maiden with a beautiful singing voice.
So, what's not to like about a film that gives an early look at a very talented Irene Dunne with a talented leading male actor from the silent screen age, Richard Dix? The filming location in Sherwood Forest of California represents the pastoral setting of Australia. The scenes of Hilda Bouverie's (Dunne) theater performances were filmed at Universal studios.
Dix and Dunne give good performances, as do all of a fine supporting cast. They include a young Andy Devine, old hands Mary Boland and Henry Stephenson, and Conway Tearle, Una O'Connor and Reginald Owen. As others note, this is one of several early films in which Dunne gets to use her beautiful voice for a number of songs.
This is an entertaining film that most movie buffs should enjoy - including the fairy tale ending. To some it may be preposterous, but to those of us who are still young of heart, it's a nice fairy tale for adults.
So, what's not to like about a film that gives an early look at a very talented Irene Dunne with a talented leading male actor from the silent screen age, Richard Dix? The filming location in Sherwood Forest of California represents the pastoral setting of Australia. The scenes of Hilda Bouverie's (Dunne) theater performances were filmed at Universal studios.
Dix and Dunne give good performances, as do all of a fine supporting cast. They include a young Andy Devine, old hands Mary Boland and Henry Stephenson, and Conway Tearle, Una O'Connor and Reginald Owen. As others note, this is one of several early films in which Dunne gets to use her beautiful voice for a number of songs.
This is an entertaining film that most movie buffs should enjoy - including the fairy tale ending. To some it may be preposterous, but to those of us who are still young of heart, it's a nice fairy tale for adults.
The Outlaw Helpmate
movingpicturegal12 April 2007
Somewhat lackluster period musical/adventure tale set in Australia, 1874 telling the story of a young lady named Hilda (played by Irene Dunne) who works as a servant for the wealthy Clarksons, sheep farmers, and dreams of being a great singer. An upcoming visit by Sir Julian, a famous composer arriving from London, drives jealous Mrs. Clarkson (an interfering biddy who fancies she can sing - but can't) to send away Hilda, so he doesn't hear Hilda has a good voice. Meanwhile, an infamous outlaw named Stingaree (Richard Dix) has just arrived in town and kidnaps Sir Julian, then poses as him at the Clarksons, where he meets Hilda a few hours before she is to leave. Hilda, thinking he's Sir Julian, sings for him - and Stingaree decides to help her with her career. She soon finds out he's an impostor, he ends up kidnapping her - um, and she likes it (and this is all in one night!). They are instantly in love - the fact that he is a bandit that the police are after means nothing to her. They are soon separated though - after Stingaree is arrested and Sir Julian takes Hilda to Europe to make her into a famous opera singer.
This is a somewhat mediocre film - though I did like Irene Dunne in this, Richard Dix gives a pretty hammy performance here (rolling eyes and all). It's not all bad, but I thought the story was just a bit hard to swallow - Hilda and the memory she just can't seem to forget: being carried off on horseback by a bandit/outlaw - I just don't know about this woman's choices. Some of the character actors in this do add a few bright moments here and there - especially Andy Devine, as Stingaree's sidekick "valet", who got me laughing in the few brief scenes he is in. The music in this is not too memorable either - all in all, so-so.
This is a somewhat mediocre film - though I did like Irene Dunne in this, Richard Dix gives a pretty hammy performance here (rolling eyes and all). It's not all bad, but I thought the story was just a bit hard to swallow - Hilda and the memory she just can't seem to forget: being carried off on horseback by a bandit/outlaw - I just don't know about this woman's choices. Some of the character actors in this do add a few bright moments here and there - especially Andy Devine, as Stingaree's sidekick "valet", who got me laughing in the few brief scenes he is in. The music in this is not too memorable either - all in all, so-so.
STINGAREE is a curious misfire...
Doylenf11 April 2007
The red flags went up the moment I spotted William A. Wellman's name as the director of this hybrid western/musical which has RICHARD DIX as an Australian bandit named "Stingaree" who also happens to be a noticeably ungifted song writer responsible for some of the numbers IRENE DUNNE is forced to sing in this film. He's a bandit who finances the career of a pretty operatic singer. (One number, in particular, gets quite a tiresome workout from Dunne's quavering soprano).
Wellman's name is usually associated with much sturdier material than he has here--films like WINGS, BEAU GESTE and THE HIGH AND THE MIGHTY. On the other hand, STINGAREE is not a formulaic musical so perhaps he knew what he was getting into.
While Miss Dunne is one of my favorite actresses (and I know she was chosen to play Magnolia in James Whale's SHOW BOAT), she has never been one of my favorite sopranos and this film didn't change my mind at all. Indeed, the film itself does nobody any great favor because the plodding script goes off in so many different directions, you're never quite sure whether it's meant to be serious or comic. Only when ANDY DEVINE and MARY BOLAND give out with some non-subtle comic relief in supporting roles can we be sure what the intentions are.
Let's just say that not every film that turns up on TCM's "lost and found" package of RKO films deserves to be resurrected--nor are they necessarily classics, so to speak. STINGAREE is one of them, best forgotten as an outmoded and lumbersome sort of film easily ignored unless you happen to be an ardent admirer of either Miss Dunne or Mr. Dix, both of whom have done better work elsewhere.
Dunne excelled in the '30s and '40s as a woman who was usually one step ahead of, and smarter than, the man (a more feminine version of the characters Katharine Hepburn often played). As the ingenue of a mixed up western, she's not exactly in her element and Richard Dix (even with a mustache) is just as hard to believe as a bandit as Nelson Eddy was in THE GIRL OF THE GOLDEN WEST. At least he and Jeanette had some good songs to sing.
For comic relief, we have reliables like ANDY DEVINE, MARY BOLAND (a stridently over-mannered performance), HENRY STEPHENSON and UNA O'CONNOR on hand, but nothing really helps.
Summing up: A curious misfire that must have had a target audience once upon a time in pre-code 1934, but that audience no longer exists outside a small clique who love anything made in the '30s, whether good, bad or indifferent, as long as TCM presents it. The title song sounds suspiciously like a Rudolf Friml reject.
Trivia note: Dunne and Dix were both better received in CIMARRON made three years earlier and without music.
Wellman's name is usually associated with much sturdier material than he has here--films like WINGS, BEAU GESTE and THE HIGH AND THE MIGHTY. On the other hand, STINGAREE is not a formulaic musical so perhaps he knew what he was getting into.
While Miss Dunne is one of my favorite actresses (and I know she was chosen to play Magnolia in James Whale's SHOW BOAT), she has never been one of my favorite sopranos and this film didn't change my mind at all. Indeed, the film itself does nobody any great favor because the plodding script goes off in so many different directions, you're never quite sure whether it's meant to be serious or comic. Only when ANDY DEVINE and MARY BOLAND give out with some non-subtle comic relief in supporting roles can we be sure what the intentions are.
Let's just say that not every film that turns up on TCM's "lost and found" package of RKO films deserves to be resurrected--nor are they necessarily classics, so to speak. STINGAREE is one of them, best forgotten as an outmoded and lumbersome sort of film easily ignored unless you happen to be an ardent admirer of either Miss Dunne or Mr. Dix, both of whom have done better work elsewhere.
Dunne excelled in the '30s and '40s as a woman who was usually one step ahead of, and smarter than, the man (a more feminine version of the characters Katharine Hepburn often played). As the ingenue of a mixed up western, she's not exactly in her element and Richard Dix (even with a mustache) is just as hard to believe as a bandit as Nelson Eddy was in THE GIRL OF THE GOLDEN WEST. At least he and Jeanette had some good songs to sing.
For comic relief, we have reliables like ANDY DEVINE, MARY BOLAND (a stridently over-mannered performance), HENRY STEPHENSON and UNA O'CONNOR on hand, but nothing really helps.
Summing up: A curious misfire that must have had a target audience once upon a time in pre-code 1934, but that audience no longer exists outside a small clique who love anything made in the '30s, whether good, bad or indifferent, as long as TCM presents it. The title song sounds suspiciously like a Rudolf Friml reject.
Trivia note: Dunne and Dix were both better received in CIMARRON made three years earlier and without music.
Funny comic operetta with odd miscasting but enjoyable none the less.
mark.waltz17 March 2013
Warning: Spoilers
This rare RKO film from their golden age is an above average operetta that only suffers from the casting of its very American and British cast as Australians. Irene Dunne and Richard Dix, reunited from the western epic "Cimarron", play star-crossed lovers, a promising singer and the wanted outlaw she falls in love with. Dunne has been taken in by the outrageously vain Mary Boland who keeps singing whether anybody wants to hear her or not (presumably the latter). You soon realize that every time she starts chirping, "Yo Ho! Yo Ho! Yo Ho!" she's really shouting out of frustration of her lack of discovery.
Boland, who played a nag better than anybody in the films of the 30's (just ask Charlie Ruggles' characters who were paired with her in a dozen films), emphasizes this female's phoniness, her constant cheeriness as a total fraud. When Dunne finally has enough and starts imitating this fish-wife, you can see why producers started looking at her for screwball comedies rather than the soap opera she had been playing for several years.
Dix, as the titled character, is a bit over the top, his acting more out of a silent film with characteristics that most silent film stars still working in movies in 1934 had gotten rid of. He's also less romantic than the character should be. Andy Devine is always good for a laugh, and there are some good moments for the British Henry Stephenson and Reginald Owen as well. As always, Una O'Connor is a delightful screechy presence, her Irish maid not afraid of putting the boorish Boland in her place.
This isn't a film for purists, but as entertainment, it really shines brightly among a few newly discovered "lost" films that even diligent collectors had been searching for over decades.
Boland, who played a nag better than anybody in the films of the 30's (just ask Charlie Ruggles' characters who were paired with her in a dozen films), emphasizes this female's phoniness, her constant cheeriness as a total fraud. When Dunne finally has enough and starts imitating this fish-wife, you can see why producers started looking at her for screwball comedies rather than the soap opera she had been playing for several years.
Dix, as the titled character, is a bit over the top, his acting more out of a silent film with characteristics that most silent film stars still working in movies in 1934 had gotten rid of. He's also less romantic than the character should be. Andy Devine is always good for a laugh, and there are some good moments for the British Henry Stephenson and Reginald Owen as well. As always, Una O'Connor is a delightful screechy presence, her Irish maid not afraid of putting the boorish Boland in her place.
This isn't a film for purists, but as entertainment, it really shines brightly among a few newly discovered "lost" films that even diligent collectors had been searching for over decades.
I saw this film at CINEFEST in 2002, and again recently on TCM and I now call it STINKAROO!
Larry41OnEbay-211 April 2007
Warning: Spoilers
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...
This one should have stayed LOST!
planktonrules16 April 2007
Warning: Spoilers
This month (April 2007), Turner Classic Movies has re-introduced six old RKO films that were presumed lost. Nearly all of them were very good, but STINGEREE was a dog--a film better left lost! Unless you are a rabid fan of the Jeanette MacDonald and Nelson Eddy style operatic movies, this movie will probably annoy you with its very old fashioned and horrid singing. In addition, the plot is pure 1930s corn--completely lacking in realism and full of silly clichés that make decent actors look really, really bad.
In addition to horrid opera-style singing, the film was saddled with some weird miscasting. As for the Irene Dunne, she was just fine. Her horrible warbling is exactly what the producers were looking for and back in 1934 it would have gone over quite well at the time--after all, she could sing, though in a style that is so out of style today that many will find the singing quite painful (my ears are still bleeding). But for the leading role, "Stingeree", they poorly chose Richard Dix who was unable to effect any sort of an accent. It seemed very odd that although the film was set in Australia and he was supposed to be English, he sounded exactly like an American! They should have instead given the part to cute old Snub Pollard, an Australian who played a tiny bit part in the movie (so you know he could effect a convincing accent of at least an Australian) but who used to be an amazing comic with Keystone Studios.
Now for the incredibly silly plot: Irene wants to be a professional singer, but the nasty old crow who took her in is jealous of Irene's talent so she is planning on keeping Ms. Dunne from meeting a famous English musician and producer. But, quite by chance, the famous bandit Stingeree hears Irene and does everything he can to make her dream come true--even if it means him being caught. He is, but she is discovered in the process. After traveling the world and gaining great fame, Irene is determined to go back to Australia, as she knows she loves him and must marry him--even though they barely know each other and he is currently on the run again. In the end, just like in the campy MacDonald-Eddy operettas, they live happily ever after and the audience is thrilled that the singing is finally completed! They don't make movies like this any more--and for once, I am quite happy about this! What a load of hooey!
PS--Late in the film, Ms. Dunne is braiding her very long hair. If you watch closely, you'll see an editing error, as her hair goes from just beginning to being braided to almost completed in a blink of an eye.
In addition to horrid opera-style singing, the film was saddled with some weird miscasting. As for the Irene Dunne, she was just fine. Her horrible warbling is exactly what the producers were looking for and back in 1934 it would have gone over quite well at the time--after all, she could sing, though in a style that is so out of style today that many will find the singing quite painful (my ears are still bleeding). But for the leading role, "Stingeree", they poorly chose Richard Dix who was unable to effect any sort of an accent. It seemed very odd that although the film was set in Australia and he was supposed to be English, he sounded exactly like an American! They should have instead given the part to cute old Snub Pollard, an Australian who played a tiny bit part in the movie (so you know he could effect a convincing accent of at least an Australian) but who used to be an amazing comic with Keystone Studios.
Now for the incredibly silly plot: Irene wants to be a professional singer, but the nasty old crow who took her in is jealous of Irene's talent so she is planning on keeping Ms. Dunne from meeting a famous English musician and producer. But, quite by chance, the famous bandit Stingeree hears Irene and does everything he can to make her dream come true--even if it means him being caught. He is, but she is discovered in the process. After traveling the world and gaining great fame, Irene is determined to go back to Australia, as she knows she loves him and must marry him--even though they barely know each other and he is currently on the run again. In the end, just like in the campy MacDonald-Eddy operettas, they live happily ever after and the audience is thrilled that the singing is finally completed! They don't make movies like this any more--and for once, I am quite happy about this! What a load of hooey!
PS--Late in the film, Ms. Dunne is braiding her very long hair. If you watch closely, you'll see an editing error, as her hair goes from just beginning to being braided to almost completed in a blink of an eye.
A pleasant adventure in days gone by
lora6427 March 2012
I've just seen "Stingaree" the first time on TCM and enjoyed every bit of it as it takes me back to the excitement of the early movies I saw as a kid paying 25 cents for an all-day stay at the theatre on Saturday. To start was an hour of cartoons, the newsreel, then two feature films and we could stay to see it all over again if we wanted to. Those were the days! It does seem that the subject of Nellie Melba could've had a strong influence on this story, an unknown Australian singer who becomes famous worldwide. Irene Dunne is the servant girl Hilda who has dreams of a career and is given the chance to sing for the impresario Sir Julian. I had visions of Jeannette MacDonald in this role, it's her style, but Irene Dunne gives a more integrated performance and her singing is finer as it has somewhat more volume to project, in my opinion.
There ought to be a special medal created for Mary Boland, she's quite something in all her films, over the top, hilarious, showy, a grand flurry of mannerisms, delightful and absurd. She certainly adds wit to her films. Her amusing reference to protecting "British womanhood's virginity" brought back the quip, "Oh no, my dear, you mean chastity. Britain wouldn't have survived on women's virginity," was quite a funny hint.
Richard Dix has the role of Stingaree, the thief who is being hunted but he does have a good heart and is determined to help Hilda get her chance to be heard by Sir Julian which succeeds and she's off to make her career although Stingaree unfortunately gets captured in the process and must put in his time in jail during her venture into the world.
I'm always charmed by Una O'Connor who plays Annie the maid. She has such a distinctive presence in all her roles, one can only wonder what it'd have been without her in so many great movies such as Robin Hood (Errol Flynn) and Witness For The Prosecution (Ty Power).
Henry Stephenson performs as the man of the house, Mr Clarkson, married to the Mrs., Mary Boland, his is not a very large role but well done.
Andy Devine is quite young in this film and he plays the 'sidekick' of Stingaree for their robbery excursions.
One ought to be fair in judging the old movies, after all, the acting that was done in silent films is not what they did when talkies came along. So too, we should consider the time period and settle into that when viewing the oldies. Each decade brought along its own styles and fashions, and that needs to be taken into account when making a comment.
All in all I enjoyed a first viewing of this adventure/ romance/ comedy film and I believe it's available to buy so that's good news too. Add it to your collection if you are a dedicated collector. Well worth it!
There ought to be a special medal created for Mary Boland, she's quite something in all her films, over the top, hilarious, showy, a grand flurry of mannerisms, delightful and absurd. She certainly adds wit to her films. Her amusing reference to protecting "British womanhood's virginity" brought back the quip, "Oh no, my dear, you mean chastity. Britain wouldn't have survived on women's virginity," was quite a funny hint.
Richard Dix has the role of Stingaree, the thief who is being hunted but he does have a good heart and is determined to help Hilda get her chance to be heard by Sir Julian which succeeds and she's off to make her career although Stingaree unfortunately gets captured in the process and must put in his time in jail during her venture into the world.
I'm always charmed by Una O'Connor who plays Annie the maid. She has such a distinctive presence in all her roles, one can only wonder what it'd have been without her in so many great movies such as Robin Hood (Errol Flynn) and Witness For The Prosecution (Ty Power).
Henry Stephenson performs as the man of the house, Mr Clarkson, married to the Mrs., Mary Boland, his is not a very large role but well done.
Andy Devine is quite young in this film and he plays the 'sidekick' of Stingaree for their robbery excursions.
One ought to be fair in judging the old movies, after all, the acting that was done in silent films is not what they did when talkies came along. So too, we should consider the time period and settle into that when viewing the oldies. Each decade brought along its own styles and fashions, and that needs to be taken into account when making a comment.
All in all I enjoyed a first viewing of this adventure/ romance/ comedy film and I believe it's available to buy so that's good news too. Add it to your collection if you are a dedicated collector. Well worth it!
Stinkery!
sbsoapandmore12 October 2015
Warning: Spoilers
Don't waste your time on this. Irene Dunne could do much better. As for Richard Dix, he looked like a combination of a poor man's John Barrymore and Clark Gable who was trying to act like Douglas Fairbanks. Spoilers follow: They would have the audience believe that Hilda would throw away a career as the 19th century equivalent of a rock star, staying at luxury hotels with her personal maid and her manager--a nice guy who loves her and wants to marry her--to go off and live on the lam with a convicted felon who escaped from prison and his idiot sidekick, setting herself up as an accomplice and risk going to prison herself. What a load of crap! I finished it only because I was waiting for him to get killed so she would come to her senses, since the 30's were full of "crime doesn't pay" movies, but the last scene was so awful it was funny and I don't think it was intentional.
Some things I have NOT seen about the film STINGAREE.
cahuffer-13 April 2008
Warning: Spoilers
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.
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.
Stingaree doesn't have much of one.
st-shot21 April 2011
Highwayman Stingaree ( Richard Dix) is the terror of down under as he plunders travelers and humiliates the local constabulary with his audacious crimes. When he becomes smitten with Hilda Bouverie (Irene Dunne) he risks his freedom to make her a great opera singer.
Preposterous as the plot is in this piece of costume claptrap directed by William Wellman, Dix is dashing, Dunne exhibits a decent set of pipes and Marie Boland remains wonderfully oblivious to give Stingaree a certain degree of life and humor. Wellman directs like he's doing a silent though and the film ends up in an ill fitting time warp between pre-talkie swashbuckler and the musical pairing of Eddy and Mc Donald.
Preposterous as the plot is in this piece of costume claptrap directed by William Wellman, Dix is dashing, Dunne exhibits a decent set of pipes and Marie Boland remains wonderfully oblivious to give Stingaree a certain degree of life and humor. Wellman directs like he's doing a silent though and the film ends up in an ill fitting time warp between pre-talkie swashbuckler and the musical pairing of Eddy and Mc Donald.
For Art's Sake
bkoganbing8 October 2008
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.
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.
A curiously poor acting performance from Irene Dunne
OldieMovieFan29 October 2023
Her singing is always marvelous, and her acting generally is too, so this film was a surprise. Dunne is very stagey, even hammy in this movie, quite a disappointment since she was one of the great actresses of the 1930s. Compare this with her marvelous performance less than six months later in "Roberta," where she and Ginger Rogers light up the screen.
This adds credence to the opinion that Bill Seiter was a much better director than he's been given credit for; that later film is immensely superior to Wellman's efforts here. Budget constraints aren't really the issue with this movie - the sets are simple but all that are required. It's the acting that makes the movie droop. Reginald Owen gives the best performance in his bit part as a mistreated official, a role he patented and could do in his sleep. Boland & O'Connor always played the same character (Owen more or less did too) yet their performances which add steam to most of their movies just seem trite in this one.
It's always worth watching a movie that has Irene Dunne singing, but there isn't much more to this one.
This adds credence to the opinion that Bill Seiter was a much better director than he's been given credit for; that later film is immensely superior to Wellman's efforts here. Budget constraints aren't really the issue with this movie - the sets are simple but all that are required. It's the acting that makes the movie droop. Reginald Owen gives the best performance in his bit part as a mistreated official, a role he patented and could do in his sleep. Boland & O'Connor always played the same character (Owen more or less did too) yet their performances which add steam to most of their movies just seem trite in this one.
It's always worth watching a movie that has Irene Dunne singing, but there isn't much more to this one.
An Enjoyable Trifle Featuring Irene Dunne's Singing
atlasmb20 December 2018
The best part of "Stingaree" is its wonderful cast, with Irene Dunne and Richard in the leads, and some strong character actors---especially Mary Boland, whose scenery chewing is hilarious.
The story has Dix playing a roguish outlaw who attempts to save Dunne from a Cinderella-like existence at a remote Australian sheep station. Dunne gets to showcase her stellar voice in a few musical numbers.
The film contains plot elements reminiscent of other fine films, but it is the casting that elevates it above mediocrity. Still, it lacks the lushness or complexity of plot that makes a film like "The Scarlet Pimpernel", for example, such a gem.
I enjoy watching "Stingaree" regardless of its simplicity.
The story has Dix playing a roguish outlaw who attempts to save Dunne from a Cinderella-like existence at a remote Australian sheep station. Dunne gets to showcase her stellar voice in a few musical numbers.
The film contains plot elements reminiscent of other fine films, but it is the casting that elevates it above mediocrity. Still, it lacks the lushness or complexity of plot that makes a film like "The Scarlet Pimpernel", for example, such a gem.
I enjoy watching "Stingaree" regardless of its simplicity.
Great cast wasted
morrisonhimself19 March 2009
This is interesting, but not very enjoyable, except for the music, some classics and opera, and an original score by Max Steiner.
Beware: The ending reminded me of the last scene of "The Graduate": Two thoughtless people going they knew not where, to survive they knew not how. Dumb!
All the performers were superb, but I'm reminded of the cliché, "A thing not worth doing is not worth doing well."
The alleged hero is not at all heroic, although courageous enough. He is not at all admirable and one has to wonder why the heroine would fall in love with him.
Yes, this is one to see, if you have nothing else to watch, but you won't want to see it again ... except out of horrified wonder.
Beware: The ending reminded me of the last scene of "The Graduate": Two thoughtless people going they knew not where, to survive they knew not how. Dumb!
All the performers were superb, but I'm reminded of the cliché, "A thing not worth doing is not worth doing well."
The alleged hero is not at all heroic, although courageous enough. He is not at all admirable and one has to wonder why the heroine would fall in love with him.
Yes, this is one to see, if you have nothing else to watch, but you won't want to see it again ... except out of horrified wonder.
Forget this one
szath13 April 2007
It was a static bore, and there wasn't a single actor in it remotely believable as an "Australian." I stayed up until 2Am to watch it, but it wasn't worth it. Only surprising thing was that Irene Dunne occasionally had a look which reminded me of how beautiful she really was at that time, I finally understood how the likes of Cary Grant could lust after her on screen. Otherwise, there's very little to this one. Richard Dix may have been a big star post-"Cimarron," but his over-emoting and head-wagging hearkened back here very obviously to the silents. And he and Andy Devine (of course, in this instance) both looked suspiciously well-fed for bandits beating their perilous way through the Outback
So yes, it's basically a clinker.
So yes, it's basically a clinker.
Dunne & Dix ride again
jarrodmcdonald-11 March 2014
This RKO picture benefits from William Wellman's direction, the re-teaming of Irene Dunne and Richard Dix, and a nice blend of music, adventure and romance. Miss Dunne is particularly suited to play an opera singer, and only MGM's Jeanette MacDonald could have performed the lead nearly as well. As for the love interest, Mr. Dix essays the title role of a dashing bandit, the first time he has worked with Miss Dunne since the studio's earlier hit, Cimarron.
Mary Boland does a fine job as an obnoxious snob, proving her worth as a would-be member of the cultural elite who makes things a bit difficult for Dunne. And don't miss Andy Devine turning on the charm as Stingaree's high-pitched loyal sidekick (what else?).
Mary Boland does a fine job as an obnoxious snob, proving her worth as a would-be member of the cultural elite who makes things a bit difficult for Dunne. And don't miss Andy Devine turning on the charm as Stingaree's high-pitched loyal sidekick (what else?).
Music-loving outlaw
dbdumonteil12 March 2012
This is a really disappointing movie by highly talented Wiliam Wellman,compared with magnificent works such as "wild boys of the road" "heroes for sale" or "the conquerors",the latter also featuring Richard Dix (playing two parts in the same final scenes!) .
This far fetched story of a bandit with a big heart who helps his protégée ,a servant,to become a great diva ,is not convincing:the ending is very romantic but might disappoint the audience who might call for more .
On stage ,the diva performs the Castafiore 's biggest hit (see "the adventures of Tin Tin")in French ,Gounod's "Air Des Bijoux " (Ah!Je Ris De me Voir Si belle En Ce Miroir =Ah my beauty past compare.....) Half melodrama ,Irene Dunne's field ,half musical (there are plenty of songs),"Stingaree" should be reserved for Wellman's buffs ,but there are plenty of them,including myself.
This far fetched story of a bandit with a big heart who helps his protégée ,a servant,to become a great diva ,is not convincing:the ending is very romantic but might disappoint the audience who might call for more .
On stage ,the diva performs the Castafiore 's biggest hit (see "the adventures of Tin Tin")in French ,Gounod's "Air Des Bijoux " (Ah!Je Ris De me Voir Si belle En Ce Miroir =Ah my beauty past compare.....) Half melodrama ,Irene Dunne's field ,half musical (there are plenty of songs),"Stingaree" should be reserved for Wellman's buffs ,but there are plenty of them,including myself.
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