Innocent woman meets rich playboy. Innocent woman is seduced by rich playboy. Innocent woman is abandoned by rich playboy. Innocent woman has rich playboy's child. Innocent woman loses rich playboy's child. No-longer-innocent woman ages and prepares to sacrifice all for her child.An entire genre of motion pictures, which often feature Barbara Stanwyck or Lana Turner, has used this basic plot to wring tears from largely female audiences. In "The Secret of Madame Blanche," Irene Dunne takes a turn at this well-worn routine and maintains her dignity throughout, despite the script's attempts to drown her in clichés. In the role of showgirl, Sally Sanders, Dunne has a few opportunities to show off her fine voice, but the musical selections are poor. The relatively short film, which was adapted from a play, lurches forward from hackneyed scene to hackneyed scene and leaves chasms of time for the audience to fill in. Occasionally, patient viewers will be rewarded with dialog and delivery so rich in camp that they will howl helplessly with unintended laughter, although a mouth-to-mouth kiss between mother and son, perhaps common for the period, induces cringes today. While Lionel Atwill is effective as Aubrey St. John, the selfish controlling father, and Philips Holmes is appropriately weak as his son, the rich playboy, the film offers little beyond the incomparable Irene Dunne slumming in a sub-par vehicle. Coincidences abound, French accents come and go, laws benefit the rich and oppress the poor, and a mother's self-sacrificing love conquers all. What more could one ask for? Perhaps Barbara Stanwyck and "Stella Dallas?"

IRENE DUNNE had THE SECRET OF MADAME BLANCHE. It's the forerunner of all those Madame X stories that gave actresses meaty roles in tear-jerkers. For Olivia de Havilland it was TO EACH HIS OWN. For Lana Turner and earlier, Ruth Chatterton, it was MADAME X. For Helen Hayes it was THE SIN OF MADELON CLAUDET. These were the kind of stories that spanned some twenty years, always about women who were cheated out of mother love--women who fell in love unwisely and were then cheated by circumstances.LIONEL ATWILL is the rich father whose son (PHILLIPS HOLMES) has fallen in love with a cabaret singer and he opposes the match from the start, threatening to stop giving his son handouts to keep them solvent. The son is destitute when he learns that she's about to have a baby and finally commits suicide. The years fly by and Dunne is now a working woman in London at a not very reputable establishment populated by servicemen. It's World War I and one of the patrons is a young man who makes a fuss over not being given a room. He turns out to be her son and she is soon protecting him from a murder charge.It's a pretty plot-heavy melodrama with enough twists and turns to keep the viewer interested, but you have to have a taste for these mother/son tear-jerkers to truly enjoy this sort of film. The final scene with mother and son reunited at a prison after a stormy trial, is reminiscent of MADAME X--but at least here, the son learns the true identity of his mother.

I am an Irene Dunne fan but had only seen her comedies, so I was surprised to see her in this one night after I got home from work. I read the other review and thought it was rather harsh. This IS from a different film-making era, so if it seems trite, that may be to our jaded modern sensibilities. I was totally rooting for Dunne's heroine until the very end...and the part in which she discovers that the horrible soldier is her very own son that was stolen away from her...."Oh, my baby boy, what have they done to you?!?"...I mean, it will rip your heart out!!!! I get misty just thinking of it. You have to love the melodramatic twists and turns, and of course, I always appreciate a happy ending...even though he's in jail, you know they'll be alright!!!

This is a close cousin of the classic (and often-filmed) "Madame X", but with some minor plot differences that make it worth watching. Fans of Lana's 1966 "Madame X" and the other versions may be curious about its predecessors and similar movies. In this one, Dunne gives a warm, heartfelt (and as is often the case with her) a startlingly contemporary and comfortable performance. Her work in the '30's tends to transcend the span of time and come off fresh now, SEVENTY YEARS later!! When her character ages, this quality is almost totally lost as she is buried in make-up and unnecessarily old-ladyish garb, wig etc.... (The most her character can conceivably be is 50 or so, but she looks like Bette Davis in "A Pocketful of Miracles"!!) Her mannerisms take over until it appears that Molly Shannon from SNL has stepped in to play the part! However, her early scenes, where her romance blossoms with the rich young man who loves her, are the best. She glows. Her scene with her little baby boy is also worth the price of admission alone. The child is adorable and the scene is spontaneous and beautiful. Like most of these tales, the deck is stacked WAY against the leading lady and it gets to be almost ridiculous, but the film is most definitely worth watching as a curio. The screenwriters Hackett and Goodrich were often called upon to translate plays and books to the screen. This was their first try and they do a decent, if occasionally trite and contrived job (this was a different era of film making, though.) It is laughable to think that Irene Dunne has no Academy Award, yet Paltrow, Tomei and Sorvino do..... Crazy!