
"They were made for each other... but they didn't know it!"
Made for Each Other tells the story of Jane Mason (Carole Lombard) and John Horace Mason (James Stewart), a young couple who meet on a transatlantic flight and impulsively marry after a whirlwind courtship. After returning to America, they struggle to adjust to married life while living with John's disapproving mother (Charles Coburn) and facing financial pressures when John, a lawyer, is passed over for a partnership at his firm. Their marriage faces its greatest test when their baby becomes gravely ill with pneumonia on New Year's Eve, forcing them to desperately seek a serum to save his life. The film culminates in a dramatic race against time as they fly through a dangerous blizzard to deliver the life-saving medicine, ultimately reaffirming their love and commitment to each other despite the hardships they've endured.
The film was produced by David O. Selznick as part of his contract with United Artists. The airplane sequences were particularly challenging to film, requiring special effects and miniature work to simulate the blizzard conditions. The film was shot quickly to capitalize on the rising popularity of James Stewart, who had just completed 'You Can't Take It With You.' Selznick was known for his meticulous attention to detail, and this film was no exception, with extensive reshoots of several scenes to perfect the emotional impact.
Made for Each Other was released in 1939, often considered Hollywood's greatest year, during the waning years of the Great Depression and on the eve of World War II. The film reflected the era's anxieties about financial stability and family values, while also offering escapist entertainment. The story of a young couple struggling to build a life together resonated with audiences who had endured economic hardship. The film's emphasis on traditional family values and the triumph of love over adversity aligned with the moral codes enforced by the Hays Code, which was at its peak influence during this period. The airplane subplot also reflected the growing fascination with aviation as a symbol of modern progress and American ingenuity.
Made for Each Other represents a transitional moment in Hollywood romantic comedies, blending the screwball elements of the early 1930s with the more sophisticated romantic dramas that would emerge in the 1940s. The film helped establish James Stewart as the quintessential American everyman, a persona that would define his career. Its exploration of marital challenges and the realities of married life, rather than just the courtship, was relatively progressive for its time. The movie also contributed to the development of the 'dramedy' genre, proving that audiences would embrace films that balanced laughter with genuine emotional stakes. The airplane rescue sequence influenced later disaster films and established tropes that would become staples of the genre.
The production faced several challenges during filming, particularly with the climactic airplane sequence. Director John Cromwell insisted on authenticity, so the production built a full-scale airplane fuselage on a soundstage that could be tilted and shaken to simulate turbulence. The blizzard effects were created using a combination of fans, shredded paper, and painted glass to create the illusion of snow and ice. Lombard and Stewart reportedly spent long hours rehearsing their emotional scenes, with Lombard mentoring the younger Stewart on comedic timing. The film's script underwent numerous revisions, with Selznick personally overseeing changes to ensure the perfect balance between humor and pathos. The chemistry between the leads was so genuine that many scenes were improvised on set, much to Selznick's approval.
The cinematography by Ted Tetzlaff employed the soft, romantic lighting typical of late 1930s Hollywood productions, with careful attention to shadow and contrast to enhance the film's emotional moments. The airplane sequences featured innovative camera work, including low-angle shots that emphasized the danger and scale of the storm. Tetzlaff used deep focus techniques to create visual depth in interior scenes, particularly in the Mason family home where the cramped quarters symbolized the couple's constrained circumstances. The film's visual style transitioned from bright, warm tones during the romantic scenes to cooler, more dramatic lighting during the crisis sequences, effectively mirroring the story's emotional journey.
The film's most significant technical achievement was its innovative approach to creating realistic airplane sequences and storm effects. The production team constructed a large-scale mock-up of the airplane cabin that could be mechanically tilted and shaken to simulate turbulence. Special effects artists used multiple techniques including matte paintings, miniatures, and wind machines to create convincing blizzard conditions. The sound department developed new methods for recording dialogue during the storm sequences, using directional microphones to capture clear speech despite the noise effects. These technical innovations influenced subsequent aviation films and established new standards for creating realistic weather effects in studio productions.
The film's score was composed by Werner Janssen, who created a romantic orchestral theme that underscored the central love story while also providing dramatic tension during the airplane sequence. The music incorporated popular melodies of the era, including the song 'Made for Each Other' which served as the film's musical motif. Janssen's use of leitmotifs for different characters helped establish their emotional states throughout the narrative. The soundtrack also featured diegetic music during party scenes and social gatherings, reflecting the popular musical tastes of late 1930s America. The score was praised for its ability to enhance the film's emotional impact without overwhelming the dialogue.
Jane Mason: 'I'm not afraid of anything as long as we're together.'
John Mason: 'Sometimes I think we were made for each other, and sometimes I think we were made to torture each other.'
Judge Mason: 'Marriage isn't just a matter of being in love. It's a matter of being sensible.'
Jane Mason: 'You can't just walk out on life when it gets difficult. You have to stay and fight.'
John Mason: 'I never knew what happiness was until I met you, and I never knew what misery was until I married you.'
Contemporary critics praised the film for its heartfelt performances and effective blend of comedy and drama. The New York Times' Frank S. Nugent wrote that 'Lombard and Stewart make a delightful team, bringing genuine warmth and humor to their roles.' Variety noted the film's 'sincere emotional appeal' and praised Cromwell's direction for maintaining the delicate balance between light and serious moments. Modern critics have reevaluated the film as an underrated gem of 1939, with many appreciating its realistic portrayal of marital struggles. The film is often cited as an early example of Stewart's Everyman persona and Lombard's dramatic range beyond her comedic roles.
Audiences in 1939 responded positively to the film's emotional story and the chemistry between Lombard and Stewart. The movie performed respectably at the box office, though it was overshadowed by other major releases of that year like 'Gone with the Wind' and 'The Wizard of Oz.' Contemporary audiences appreciated the film's relatable depiction of married life and its hopeful message during difficult economic times. The airplane rescue sequence was particularly popular with viewers, who found it thrilling and suspenseful. Over the years, the film has developed a cult following among classic film enthusiasts who appreciate its sincere approach to romance and family values.
The film is preserved in the Library of Congress collection and has been restored by various film archives. A high-quality digital restoration was completed in the early 2000s as part of the Selznick library preservation project. The original nitrate negatives are stored at the UCLA Film & Television Archive under controlled conditions. The film entered the public domain in 1967 due to copyright renewal issues, which has led to numerous releases of varying quality over the years.