Editing Love Affair (1939 film) (section)

=== Boyer and Dunne ===
[[File:Photoplay October 1939 contents page.jpg|thumb|Dunne and Boyer's essays listed in ''Photoplay''{{'}}s October issue's contents' page.]]
The partnership of Charles Boyer and Irene Dunne would be called the most romantic in Hollywood.<ref>{{Cite news|last=Parsons|first=Louella O.|date=August 11, 1939|title=Irene Dunne and Charles Boyer Engaging in Romantic Film, "When Tomorrow Comes"|work=[[Los Angeles Examiner]]|quote=I don't know any more romantic pair on the screen than Irene Dunne and Charles Boyer.}}</ref> With a positive reaction to the pairing, Hollywood developed them as the newest team-up,{{sfnp|Swindell|1983|p=147}} so the duo starred together twice more in ''[[When Tomorrow Comes (film)|When Tomorrow Comes]]'' (1939) and ''[[Together Again (film)|Together Again]]'' (1944). Critics judged the rest of the "trilogy" with the praised qualities of ''Love Affair'', with ''When Tomorrow Comes'' receiving the least positive reception.{{sfnp|Flannery|1990|page=133}}<ref>{{cite news |title=What's What in the Movies: A Big Week As Women Fans Promised in Coming Movies |url=https://www.newspapers.com/clip/71035485/ |work=[[The Kansas City Times]] |date=1939-09-28 |page=6 |via=[[Newspapers.com]] |quote=[''When Tomorrow Comes''] does not have as much comedy in it as when Miss Dunne and Mr. Boyer presented last season when they co-starred in ''Love Affair''.}}</ref><ref>{{cite news |title=Fantasies Omitted |url=https://www.newspapers.com/clip/71036810/  |work=[[The Brooklyn Daily Eagle]] |date=1939-09-21 |quote=There is something missing in ''When Tomorrow Comes'' [...] Indeed, [director [[John M. Stahl]]] has woven together the elements for a romance that is as near to actuality and as far from affection as that of the ''Love Affair'' starring effort [...] There isn't the sparkling wit of ''Love Affair''...  }}</ref>

The two actors remained family friends after performing together.{{sfnp|Gehring|2003|pages=100–103}} To promote ''When Tomorrow Comes'', they were asked by ''Photoplay'' to describe each other in the style of a [[parlor game]] where a player who briefly left the room guesses the secret noun other contestants chose by asking questions like "If I were that person, what kind of car would I be?"{{sfnp|''Photoplay''|1939|p=24}} Their essays appeared in the October issue under the names "Irene: As Seen by Charles Boyer"<ref>{{harvp|''Irene'' by Charles Boyer|1939|p=24}}</ref> and "Charles: As Seen by Irene Dunne"{{sfnp|''Charles'' by Irene Dunne|1939|p=25}} with the editor noting: "Surely, working together as they do and have done, and being analytical, intelligent people, each would give a clear-limned portrait of the other; unbiased, colorful, exciting."{{sfnp|''Photoplay''|1939|p=24}} Boyer described Dunne in [[prose]],<ref>{{harvp|''Irene'' by Charles Boyer|1939|p=24}}: "Suppose we imagine a gracious house, designed by a master architect. It would sit atop a hill, and it would be beautifully furnished. Of course, the best room would be the music room, a cool place with great windows opening on a garden. Great music, and the best of good [[swing music|swing]], and things by [[George Gershwin|Gershwin]] would sound there always. The acoustics would be perfect. Guests in this house would be relaxed and happy but they would have to mind their manners. Irene Dunne is like that."</ref> while Dunne described Boyer under topical subtitles, but Wes D. Gehring pointed out both essays' frequent references to [[fine art]], as well as Dunne personifying Boyer through French [[impressionism]].{{sfnp|Gehring|2003|page=104}}

Dunne called Boyer one of her favorite screen partners, along with Cary Grant, and referred to him as the "perfect gentleman" at the [[American Film Institute]]'s retrospective screening.{{sfnp|Flannery|1990|page=133}}