The fact that there was a 50-year gap between the ’30s and ’80s is troubling, to say the least, for those waiting for the next fashion cycle to look kindly upon the idea of colossal fur coats. Though, this is not to say that those 40 years were utterly devoid of “inspirational” furs. Let’s Do It Again certainly helps fill that rather long gap.
Let’s Do It Again – The Film
I’ve found the 50’s, though somewhat hung up on shorter-haired, far more conservative fur coats, to have been a heyday of very large fox stoles. From 1953, Let’s Do It Again boasts one of the single largest ever committed to film. Why? Perhaps it isn’t a coincidence this film is based on the same play as an earlier film, 1937’s The Awful Truth.
Like many 50’s remakes, this one is a musical and again takes us down the madcap, zany path of jealousy and divorce. Jane Wyman fills in for Irene Dunne as Connie Stuart, married (and remarried later) to Gary, played by Ray Milland. Connie intends to make her husband jealous with a hayseed named Frank McGraw, played by Aldo Ray. Divorce and eventual reconciliation ensue. Who cares, on with the fur…
Let’s Do It Again – The Furs
I won’t belabor the wrap; it’s a pleasing “appetizer.”
This is the “main course.” Four tiers of floor-length blush fox stole. The sheer size of this mega fox is fully revealed when first encountered.
Though the massive white fox coat from The Awful Truth slips away far too soon, the remake does a fine job showcasing this beauty from all angles.
Another closer show, giving a peek into the rich depths of the full blush fox fur.
Jack gives Connie a ride back home. The giant fox stole covers virtually every inch of Jane Wyman.
Finally, they arrive, where hijinks ensue, and eventually, Miss Wyman sheds this beautiful piece for good.
The stole may be the showcase fur, but Let’s Do It Again isn’t completely finished. Later Connie visits a party in a particularly “sexy” mood, donning this ensemble of fur wrap, fur muff, and long cigarette holder.
The sequence is short but incredibly sensual as she vamps down the hallway wearing the furs and the holder.
I’m not sure what kind of fur this is. Seen it on Kay Francis before, and it’s undoubtedly very full and visually appealing. The oversized fur muff is quite memorable.
A petty gripe with the film would have to be Jane Wyman’s signature hairstyle. Readers may infer I’m not a particular fan of severely short hairstyles. A couple of extra feet of rich brunette would have settled nicely on that giant fur stole.