So Goes My Love 1946

Farmer’s daughter Jane Budden, Myrna Loy, sells her entire pig herd and heads for Brooklyn to find a husband who can grant her the comfortable life and cultivated world she has long dreamed of. On the way to the home of her cousin, Garnet Allison, Molly Lamont, Jane unexpectedly crosses paths with Hiram Maxim, Don Ameche — an eccentric inventor who lives near Garnet and carries a mix of charm and swagger that both unsettles and attracts her. Jane’s blunt stance about marriage — that she does not seek love but a rich husband who can provide ease and culture — scandalizes local society, and she finds herself the subject of pointed gossip as she insists on pursuing financial security over romantic romance.

Amused by Jane’s bold stance, Hiram visits her and bluntly tells her to forget about marrying him. He is not deterred by her allure, yet he challenges the very premise of a conventional match. Jane feels drawn to him, even as she resents his audacity, and she watches as one of Hiram’s inventions flops in public — a humiliating setback that underscores his outsider’s reputation and stubborn energy. The episode becomes a talking point at a local dance, where Hiram dispassionately critiques each of her suitors, with a pointed jab at Josephus Ford, a wealthy real estate developer and attorney who is also moving in influential circles. The encounter plants a seed of doubt in Jane’s mind about the conventional route and sows the seeds for a dramatic shift in her plans.

Jane eventually accepts Josephus Ford’s proposal, but the engagement party is interrupted when Hiram crashes the gathering. At the center of the disruption is the truth about Josephus’s expectations: he wants Jane to sign a prenuptial agreement and believes she should be frugal, quiet, and matronly. The revelation rattles Jane, and a new awareness blooms — she notices that Josephus has just invested in a pork-packing plant, a business move that signals profit while potentially compromising personal freedom. Fueled by this discovery, Jane breaks the engagement, rushes to Hiram’s house, and, in a bold turn, proposes to him herself.

Hiram and Jane marry, and the union, though built on unconventional roots, proves emotionally robust. Their home life is warm and energetic, even if Hiram’s inventions remain only marginally profitable at first. The couple welcomes a son, Percy, [Bobby Driscoll], whom Hiram raises with a free-spirited approach designed to foster creativity and confidence. Jane’s steadfast encouragement helps unlock a new rhythm in Hiram’s work, and gradually his inventive talents begin to align with practical needs, bringing in meaningful income for the family.

As success grows, a local organization asks Hiram to sit for a formal portrait, an honor he initially refuses. Undeterred, Jane, now pregnant with a second child, hires the eccentric artist Magel, Rhys Williams, to capture the family’s likeness anyway. The household’s warmth and playfulness deepen, culminating in a moment when Percy tries to be amusing by dressing his dog Skipper in a baby bonnet — a gift Jane had given for the expected arrival. The chase to retrieve the bonnet leads to a tense moment: Jane missteps while moving a piece of furniture, and her pregnancy is threatened. The physician fears for the baby, and Percy carries a heavy burden of guilt, convinced his mischief nearly harmed his mother. Yet Jane recovers, and the family welcomes a healthy second son. In the end, the household celebrates not only a new member but also the return of harmony, with Hiram and the entire family posing for Magel’s portrait, a tangible testament to their growth, resilience, and shared dreams.