El amor no muere

A bit of melodramatic claptrap that works pretty well due to a trio of top-notch actors and a lot of classy MGM production values.

Norma Shearer is the orphaned niece who is raised by Leslie Howard. Fredric March is the dashing soldier she falls in love with, but Howard is opposed to the marriage because March's father was responsible for the death of Howard's wife. That wife visits him from time to time as a ghost also played by Shearer. There are a lot of moody scenes set in abandoned houses and lush gardens, and the whole thing has a dreamy atmosphere, enhanced by the blurring of lines between memories of the past and the actual present.

As an aside, I'm always fascinated by the treatment of World War I in films from the 1920s and 30s before anyone knew that World War II would come to dominate the cultural discourse later in the century.

"Smilin' Through" was nominated for a Best Picture Oscar in the 1932-33 award year, a year that saw ten nominees for the top prize. It belongs to a small list of films to receive a Best Picture nomination and no others, something that hasn't happened since 1943 but which is made more possible now that the Academy has gone back to nominating up to ten movies every year.

The full list includes: "The Racket" (1927-28); "The Hollywood Revue of 1929" (1928-29); "East Lynne" (1930-31); "Trader Horn" (1930-31); "Grand Hotel" (1931-32, the only film to actually win); "One Hour with You" (1931-32); "The Smiling Lieutenant" (1931-32); "She Done Him Wrong" (1932-33); "Smilin' Through" (1932-33); "Here Comes the Navy" (1934); "The House of Rothschild" (1934); "Ruggles of Red Gap" (1935); "Libeled Lady" (1936); "Grand Illusion" (1938); "One Foot in Heaven" (1941); "The Ox-Bow Incident" (1943).

Grade: B

I cannot imagine a movie being classier than this one. The lilting mood of the story is felt all the way through the film until its closing moments. The swell of music followed by the appearance of a 'The End' card, like a surrendered afterthought on the screen, make Smilin' Through seem as if MGM meant to deliver a movie on a cloud in 1932. Fredric March and Norma Shearer's conversations have a sense of 'sway' or dance about them. From her refusal to see his soldier off at the train station then following him there in the very next scene to his simple but imploring, "There's a war on, and I'm in it!", the well-drawn characters demonstrate nobility, humor, and attachment to each other that are poetic in their simplicity. Even an elderly man, as painted by Leslie Howard's portrayal, commits his loving then selfish then last surprising acts with grace. Director, Sidney Franklin motions us into the fold to experience the drama alongside the characters with his special touches: distant gunfire rattling windows, doors shutting on a church shooting while we wait for them to be reopened to discover how the characters are reacting. No leotards or shades of pink are glimpsed here, but surely we have been to a ballet of sorts.

One of the most wonderful romances to have come from Hollywood in the 30s, Smilin Through stars three legendary actors- Norma Shearer, Leslie Howard and the gorgeous and talented Fredric March- with and without moustache! Also wearing uniform!! If that doesn't make you want to run out and buy all available copies of Smilin Through, you may want to check your pulse. You'll love it, as long as you aren't a cold-hearted beast. Its the cat's mieow. So put on the kettle for some mighty good tea, settle back with Mrs Crouch's sinkers and dumplings and maybe a slender cookie or two, and watch this fabulous romantic movie right now. 100 out of 10!

In England, elderly Leslie Howard (as John Carteret) still mourns the death of blonde-trussed teenager Norma Shearer (as Moonyeen Clare). As we see in a flashback to 1868, Ms. Shearer was shot to death by Mr. Howard's alcoholic rival Fredric March (as Jeremy Wayne) while the two exchanged wedding vows. A flashback to 1898 reveals how Howard adopted five-year-old Cora Sue Collins; in 1915, she grows up to be adult Norma Shearer (as Kathleen Sheridan). Presently, Shearer falls in love at first sight with handsome American traveler Fredric March (as Kenneth "Ken" Wayne). As Mr. March happens to be the son of the man who killed his bride, Howard makes Shearer promise to stay away from their new neighbor...

MGM's box office star, named "Quigley Publications" #6 for 1932, acts giddy and girlish in soft focus. Director Sidney Franklin, who helmed both this and the earlier silent film version, does excellent work with windows.

"Smilin' Through" was originally a tremendous hit for popular stage actress Jane Cowl, who wrote the strongly romantic story with Jane Murfin (using the alias "Allan Langdon Martin"). Ms. Cowl starred in only a couple of silent films, unfortunately. Even worse, the 1922 "Smilin' Through" with Norma Talmadge in the leading roles is not available for viewing. There are prints of this film surviving in the U.S. Library of Congress and the Netherlands Film Museum. It was one of Ms. Talmadge's most successful, winning a "Quigley Publications" honor as 1922's best picture, and should be restored. The Shearer version won the 1932 "Photoplay" award. MGM did it again with less success, in a 1941 musical starring Jeanette MacDonald.

Note this version's unaccredited gardener David Torrence played Howard's pal "Owen" in the 1919 stage version; and, the 1941 version's unaccredited doctor Wyndham Standing played Howard's role in the 1922 silent version.

****** Smilin' Through (9/24/32) Sidney Franklin ~ Norma Shearer, Fredric March, Leslie Howard, O.P. Heggie

What a charming film this is. It's definitely for the lover of romance, and if that's the type of film you like, this one is easy to love – it has one strong scene after another, great acting, and that wonderful feeling of how magical, strong, and yet fragile love can be. Norma Shearer's character has been raised by her uncle (Leslie Howard) after being orphaned as a child. Howard himself has suffered the loss of his wife on his wedding day, and has been pining for her ever since. One evening while Shearer is taking shelter in an old mansion with her boyfriend (Ralph Forbes) during a thunderstorm, she happens to meet another man (Frederic March), and the two are instantly drawn to one another. Things get complicated when it's revealed that March's father (also played by March) was the one who caused the death of Howard's wife (also played by Shearer). Also threatening things is March being scheduled to go off to war.

I loved the way the story was told, with a flashback, so that it was a bit like a movie within a movie. It also felt like love playing out across generations, and recurring, with all the same depth of feeling. Some of the scenes evoke a sentimental or poignant feeling – in the cemetery, remembering love lost – and others evoke that wonderful feeling of falling in love. The mansion scene, with that delicious ambiance of cobwebs, a fire, an old portrait, and with Shearer and March toasting one another after he finds an old bottle of port, is fantastic. "Any old port in a storm," he quips. The two have such chemistry together. Their bike ride and time in the teahouse is also sweet, after he had essentially admitted to stalking her ("you're a window-peeper", she teases). Towards the end of that scene Shearer says, almost breathlessly, "Love is ... something you feel. It just happens. You can't do anything about it. If I loved somebody, I'd love him forever", as the camera dissolves on the old woman who has fallen asleep.

I'm usually not big on Leslie Howard, but he was great too, and his scenes with the other character Shearer played were wonderful. He says to her "Wouldn't it be marvelous if every time I opened my eyes for the rest of my life, you were there?" She says: "I will be." And he says: "And always as beautiful as you are tonight?", the last bit echoing March's toast in the mansion. It's all the more touching seeing these kinds of scenes in an old movie where the actors have all passed away, but are captured in these moments, so ephemeral and fleeting, and yet with feeling so strong and dramatic.

Shearer's character's personality is a romantic, and the plot allows her to express her love with such urgency, because March is going away. It is reserved and proper, with almost all of the characters (except March's father / evil March and his drinking problem) having a sense of decorum and grace, and yet these two are allowed to express their love so freely and fiercely ... it's a great combination. As she says when he's going away, "It's no use, I'll always love him. I'm just that sort of a fool. I have no pride", any hopeless romantic can identify.

March's dual role may remind you a bit of his role in Dr. Jekyll and Mr. Hyde (though this is of course two characters), and as the film plays out, you may also be reminded of "An Affair to Remember". There is real angst here, from those whose love is unrequited for reasons that simply can't be explained – love happens or it doesn't – to those who suffer tragedy. When Shearer and March must part, she says with real passion, "I'm yours and you're mine; I want that to be true before you go" implying marriage and sex, but he demurs, torn.

And yet, how magical it is; the eyes, the smiles, the banter, the embraces. This would be a great movie to curl up in front of with someone you love.