Opiniones de usuarios

'Til We Meet Again is a remake of Warner Brothers earlier film, One Way Passage, a story of doomed romance that starred William Powell and Kay Francis. This film and the previous one concerns the shipboard romance of a man being brought back to the United States in custody to face the gas chamber in San Quentin and a terminally ill woman on a cruise for one last fling at life. Taking the parts of Powell and Francis are George Brent and Merle Oberon.

I can see Jack Warner's mind at work on this one. The year before George Brent had romanced and treated the terminally ill Bette Davis in Dark Victory. Why not get Brent into a remake of this other film about a dying woman and her last romance? We even get Geraldine Fitzgerald in this one in the same part, best friend to the terminally ill woman.

The part of the police lieutenant escorting Brent is built up considerably from One Way Passage where the role was played by Warren Hymer. Here Pat O'Brien is the cop and he's nobody's fool. Still Brent has friends on board, Frank McHugh who's a con man with a nice drunk act and Binnie Barnes who's a con woman with a phony French accent. She goes after O'Brien and not totally in the line of duty. She's also my favorite in this film.

Oberon and Brent make a beautiful pair of lovers and one had better have as big a supply of handkerchiefs as one did in watching One Way Passage.

Classy, richly appointed remake of One Way Passage is close to a scene for scene remake but the talented cast manage to make it fresh. Brent is less stolid than usual and he and Merle make a handsome couple surrounded by a terrific group of character actors. Eric Blore is amusing as usual in a small role, Pat O'Brien full of quiet integrity as George's minder and Geraldine Fitzgerald is lovely and solid in a small role as a newlywed. But the real standouts are under-appreciated Binnie Barnes as a con-woman who has a past with Brent and most of all Frank McHugh as his loyal tippling friend, he manages to make a stock character very human.

George Brent and Merle Oberon meet in a bar in Hong Kong, share a cocktail of his own concoction, break the glasses and part. He's promptly apprehended by Pat O'Brien, and taken back to be hanged for murder. She's on the same cruise ship, dying of heart disease.

It's a remake of 1932's ONE-WAY PASSAGE, the most romantic movie not directed by Frank Borzage. The musical theme is the same; Frank McHugh is the same; Binnie Barnes takes Aline MacMahon's role, and Geraldine Fitzgerald is present for Miss Oberon to make her illness apparent to. Everyone performs their roles well, but at 99 minutes, this lacks the tightness and sense of racing time that makes the original movie's 67 minutes such a sensation. Those high-speed Pre-Code movies from Warner Brothers made their points and moved ahead. This one works, but not as well.

my ex was a truck driver. The night that I was watching this movie, he called just as they were arriving in Hawaii. I missed the rest of the movie and was extremely disappointed. I tried to find it again on TV and only once that I know, was it shown. I imagined scenarios for many years trying to figure out what the ending would be. I finally found a company that had access to many film archives and obtained a copy. I've only had it a week and I have already watched it 3 times. The rest of the movie was better than anything that I dreamed up. I liked the twists and turns of the plot and the ending was classic. Of course, you could always imagine that the ending was different, but I think that the way it ended enhanced the love story. True love overcomes all difficulties in the end.

George Brent stars as a murderer who has been traveling the world avoiding his execution. On his tail the whole way is the detective, played by Pat O'Brien. Once Brent is finally apprehended in China, he's taken aboard a cruise ship bound for America. There he meets Merle Oberon and they fall in love. However, they both are hiding secrets--Brent cannot bring himself to tell her he will be executed and Oberon cannot bring herself to tell him she's got a fatal heart condition. While this may sound a bit sappy and contrived, it did work reasonably well--mostly because the detective agreed to let Brent keep the secret until they docked in San Francisco.

Had I never seen ONE WAY PASSAGE, then I might have been tempted to score this picture much higher. That's because 'TIL WE MEET AGAIN is a remake of ONE WAY PASSAGE and in most every way, the original is a better picture. The original film starred William Powell and he was at his best in this film. While I always love George Brent in films, he just couldn't beat Powell's performance and so he was handicapped from the outset. The original film was also better because it was more concise, didn't rely as much on secondary characters and plots and just sparkled. Side by side, there just isn't much to merit watching 'TIL WE MEET AGAIN. The latter film adds too many plot elements and draws out the eventual parting too long. And, to top it off, create a possible loophole at the end of the film (depending on how you interpret it)--even though there is no way the lovers could have had a happy ending.

Nope...stick with the original.

George Brent and Merle Oberon star as doomed lovers in "'Til We Meet Again," also starring Geraldine Fitzgerald, Binnie Barnes, Pat O'Brien and Frank McHugh. This film is a remake of the beautiful "One Way Passage" starring William Powell and Kay Francis. Some of the scenes and dialogue have been kept exactly, new scenes and characters have been added, and one relationship has changed in this version. Frank McHugh reprises his role as a petty crook, now named Rockingham.

But it's the same story, told in a much more dramatic fashion than "One Way Passage" which somehow kept its whimsy though it is the tale of two people who are going to die - one by the hangman's noose and the other from heart disease - who fall in love as they're traveling from Hong Kong to San Francisco by ship. Neither knows the fate awaiting the other. Hardesty (Brent) is being brought back to the states by a tough detective (O'Brien) who also has a heart. He's attracted to a Countess (Barnes), who is a phony and after the money of a wealthy Brit (Eric Blore). In this film, it is not Rockingham who knows the Countess (Binnie Barnes) but rather Dan Hardesty (Brent), and this script has given them a past romance as well. The Countess tries her best to keep the sergeant occupied while Hardesty plans his escape, with Rockingham playing middle man.

This poignant tale is given more profound treatment both in the writing and by director Edmund Goulding. Part of the reason for this is that it was intended to be another "Dark Victory," but Bette Davis refused it. In fact, the part that Geraldine Fitzgerald plays, someone Joan (Oberon) meets and befriends aboard ship, is very similar to the role she played in "Dark Victory." George Reeves (who went on to play Superman on TV and is now the subject of a film himself) plays Fitzgerald's husband.

Brent is no William Powell, of course - his character is rougher around the edges and doesn't have the sense of humor or irony that Powell gave Hardesty. Brent, however, gives a solid, tender performance. McHugh this time around shares the comic honors with Eric Blore and therefore has less to do, and there's a lot less comedy. Binnie Barnes' Countess is less exotic than Aline McMahon's and sadder. O'Brien's Sgt. Burke is older and tougher this time around, though he's still a soft touch.

Though Kay Francis was lovely as Joan in "One Way Passage," Merle Oberon is breathtaking in beauty and frailty. For this viewer, she's the best thing about this remake. Desperate to live after she meets Dan, she savors each moment, refusing to consider the consequences of too much activity. It's a heroic, heartbreaking performance.

It was fascinating to be able to see and compare both films. Both are successful in their own way. The ending is the same in both, so expect to smile and cry at the same time. It's as uplifting as it is poignant, and no matter the treatment of the story, the message of "'Til We Meet Again" and "One Way Passage" is the same: Love is the only thing that lasts.

I watched this movie tonight. It is a well done remake. Bette Davis & Marlene Dietrich passed on the lead, so it went to Merle. She made the part of Joan her own. But...there is little to no chemistry between her and George Brent. I saw no passion between these doomed lovers. George Brent was a popular star, but his acting is so wooden; I really had a difficult time finding why she loved him so desperately. I would recommend the movie to Merle Oberon fans.

This film (TWMA) is a virtual remake of the 1932 classic romantic fantasy One Way Passage (OWP). While TWMA introduces some new characters, the story line of both films is essentially the same. Only one actor (Frank McHugh) appeared in a similar role in both films, although he had a different name in each one. The films had different directors, but shared four common lead roles--played by eight different actors. Because of that, it is interesting to compare and contrast these performances with each other, as well as the work the two directors brought to their respective film.

Dan Hardesty (William Powell v. George Brent). Powell was one of the greatest screen personalities to ever work in Hollywood. He had a career that spanned the silent film period through the post WWII era, and included performances that ran from villains to sophisticated comedy. Powell was well known for his charm and debonair manner, and appeared with many of the the most celebrated movie stars of his time. While he was not a particularly animated screen performer, Powell would seem like Spencer Tracy when compared with George Brent. Brent may have been one of the most passive and bland actors to ever achieve leading man status in the movies. Dan Hardesty was one of Powell's most important early sound era roles, and he shines in it.

Joan Ames (Kay Francis v. Merle Oberon). Francis was a very popular film performer in the 1930s. She was tall and vibrant looking----an unfortunate combination of physical attributes to appear as representations of a dying woman. Francis also had a somewhat limited range as an actor, and this further affected the credibility of her role. On the other hand, Oberon was small and petite---and was quite believable as the long suffering vulnerable doomed heroine. She also could draw from a deeper well of emotions than Francis was able to do. It is unfortunate that circumstances prevented Powell and Oberon from co-starring in either film.

"The Countess" (Aline MacMahon v. Binnie Barnes). In the early 1930s, MacMahon was an attractive woman in her mid-thirties with an earthy sexuality that was quite appealing. Those who are only familiar with her later films may know MacMahon as an overweight frumpy middle aged character actor. It is quite a revelation to see her youthful and exciting work in OWP as well as her obvious physical charms. Barnes was a fairly routine actor who seldom made much of an impression on the screen. Her appearance and acting skills were both somewhat ordinary and undistinguished. But MacMahon was something else---very special.

Steve Burke (Warren Hymer v. Pat O'Brien). Hymer was one of several Warner Brothers contract players who specialized in appearing as foolish or nitwit-type supporting characters. Occasionally---like in OWP---Hymer was given an assignment that allowed him to bring to it some additional nuance and substance. However, O'Brien was a major star, whose resume included some leading man parts (e.g. Knute Rockne, All American). He created a deeper and more meaningful impression than Hymer as the cop who must bring Dan Hardesty back to San Quentin and his ultimate fate---and made TWMA a much better movie as a result of his effort.

Director (Tay Garnett v. Edmund Goulding). OWP was an early sound film, and it reflects the technical limitations on the creative process that were imposed on even talented younger directors like Garnett (China Seas, Trade Winds, The Postman Always Rings Twice, etc.). Goulding was an older veteran director with perhaps more impressive and consistent accomplishments than Garnett (Grand Hotel, The Old Maid, The Razor's Edge, etc.). The camera work on TWMA is more accomplished than that of OWP, but that may be more an example of the technical progress of movie photography from 1932 to 1940 than anything else.

TWMA is a respectable sequel to an early sound classic, and both are worthy of your attention and enjoyment.

...and Goulding was no Tay Garnett. Though a pretty faithful remake, right down to McHugh reprising his original role, this has none of the style of the original.

Just compare the two opening sequences -- in Singapore in the original and Hong Kong in the remake. Garnet's camera work is fluid and interesting and draws the viewer in immediately. Goulding's is standard issue and lacking in any spark.

Oberon is admittedly beautiful, but Brent was always a stick of wood. Even with my low tolerance for Kay "Fwancis," I'll stick with ONE WAY PASSAGE, an altogether better and less padded version.

If you like romance, you must see this movie. It is well written, beautifully directed, and superbly acted. The music, too, is memorable. Merle Oberon is perfection. George Brent is excellent. Binnie Barnes is masterfully restrained and right on the mark. Unless you are emotionless, make sure you have some tissues ready. This is a remake of an earlier movie that starred William Powell, but it is so much better thanks to the perfect casting of Merle Oberon in the lead. She is the force that propels this story. Along with the romantic thread of the movie, there is a compelling drama of two men, a criminal and a cop, bound together on a ship carrying the criminal back to prison. The drama and the romance are flawlessly blended in a tale that never drags.

Escaped murderer George Brent (Dan) is caught in Hong Kong by detective Pat O'Brien (Steve) who has been tracking him. Together, they board a cruise ship that will take Brent back to San Francisco where he is due to hang. Meanwhile, Merle Oberon (Joan) is dying from a heart disease and is spending her final days as a free spirit travelling the world. She is on the same cruise ship, and after a previous chance encounter in Hong Kong, Brent and Oberon re-acquaint themselves on the ship. Brent hides his true identity and Oberon keeps her secret to herself. Can they find happiness together?

Well, the film is okay. I found Merle Oberon's character pretty annoying and I wish the story had focused more on the George Brent escape story. The film needed more to it. Every time you think the film is going somewhere, Oberon appears and takes things back to planet soppy and bland. The cast did fine with a couple of exceptions – petty crook Frank McHugh (Rockingham T Rockingham) is annoying as a drunk but good when he plays it straight whilst comedy character wealthy Eric Blore (Harold) is never funny in this outing. The ending is romantic and the film is basically a soppy romance. I was a bit disappointed.

One thing that did make me chuckle – at the beginning of the film, we are told that Merle is taking Amyl Nitrate as a cure for her heart problem! No wonder her chances of making it aren't very good. She must have had a lunatic as a doctor. My experience of the drug is of getting a rush of blood to the head to the point where your face goes red, your heart beat speeds up rapidly and you fall about in uncontrollable hysterics. It was great fun, just a shame that it's really BAD for you. It explodes your brain cells, gives you headaches and sends your heartbeat racing. It also relaxes your anal muscles which is why it was a popular drug with the gay community – probably still is. So, maybe Merle was taking it so she could enjoy loads of anal sex whilst cranking up her heart rate so that she dies! Is Oberon walking funny by the end of the film - watch and find out.

I first saw this film back in 1941 when I was very young and was captivated by the beauty of Merle Oberon even at that very early age. I waited more than 35 years to see this movie once again and even surprised myself at my recall and searched without any luck for a copy of it. Binnie Barnes was outstanding in this film as was the entire cast but the casting of George Brent as Dan Hardesty and Merle Oberon as Joan Ames were perfectly suited for their roles. Was the haunting melody that was always played when George Brent and Merle Oberon were sharing those Paradise Cocktails called "Dark Passage" and where can the words be found to it that was sung by the Hawaiian group on board the ship? One of the true great love romances of it's period and since recording it on VHS when TNT last aired it, I have watched it 3 times.

I saw this movie only once more than 30 years ago, when I was very young-about 16 or so in NY. I have never forgotten the plot, and whenever I would ask someone about it, no one was able to tell me about it until today. The impact this move made on me was lasting.

I loved the characters and always felt that it was one of the most under-rated love stories ever written. It's a great movie for watching on a cold winter night with your loved one by your side.

There are moments in certain movies that, once experienced, turn you, forevermore, into a movie-lover.

As those two glasses broke, in a bar in Acapulco, the sound nearly masked by New Years' celebrations and the strains of "Auld Lang Syne", I let out a sob that I can still feel, well more than fifty years later.

Dated, trite, corny, awful sound, loud voices, yeah, all of those. But put it aside and revel in this beautiful, gentle, glamorous and romantic love story. Even with all the available cinematographic bells and whistles, it simply could not be made today.

Joan Ames (Merle Oberon) meets Dan Hardesty (George Brent) in Hong Kong and she's taken with him. She's dying on a last whirlwind trip with her maid and boards a ship back to America. He's a fugitive for murder and gets captured by SFPD Steve Burke (Pat O'Brien). He tries to escape into the harbor and both are fished onboard the ship. Joan and Dan continue their romance without knowing each other's problems.

I don't see how a police detective would allow him that much freedom. Dan should be handcuffed to the bed or locked away in steerage. It would be more compelling for an unarmed cop to follow him onboard the ship and it becomes a cat and mouse game seeing how he has no jurisdiction while in International Waters. At least, that's how I would write it. After putting him in handcuffs, I don't see the cop going backwards no matter what. It's also a big coincidence that he has so many friends on the ship. The romance is almost on the backburner. The movie is both unlikely and uncompelling. I'm not rooting for him to escape and they don't spend enough time on the romance for me to care about it. This is a remake of a 1932 film and I actually like that film. I don't remember having this much trouble with the story although I still wanted him to prove his innocence to increase my rooting interest.

Excellent and very enjoyable, 'Til We Meet Again is about an escaped prisoner and an ill woman who fall in love on a cruise ship. This movie had me figuratively grabbing for the tissues. But I won't discuss the plot so as not to spoil anything. Suffice it to say, the movie starts sweetly, and quickly becomes unexpectedly compelling and enormously satisfying -- as very few movies are.

It stars Merle Oberon and George Brent, and they are both great! I could hardly believe this was the same George Brent as his sedate character in Dark Victory.

And Merle Oberon is breathtaking. So exquisitely beautiful, and charming and delicate like porcelain. Her looks and mannerisms and innocent style and charm reminded me very much of Audrey Hepburn, and I kept wondering if Hepburn could have played the role (had she been the correct age), but I concluded Oberon was definitely the right actress.

Merle's unusual, exotic dark looks, otherworldly beauty, and rare talent and magnetism prompted me to look up more about her, and I found out she was born in India and was half Indian! Her mother was Indian. That explains her unique look and air, which sets her apart from all other Hollywood stars.

This film, like Now Voyager and Ship of Fools, and all the greatest classic love stories, has a beautiful musical love theme that carries you through the movie, whenever the two lead characters are together. 'Til We Meet Again's love theme is exquisite.

This movie is a well-made, very classy film that's enjoyable, captivating, moving, and extremely fulfilling. The characters are engaging and unforgettable, emotionally identifiable and heartfelt. I certainly recommend 'Til We Meet Again, especially if you love romances, or especially if you love classic films/dramas that are unusual and exquisite.

This classic black and white film is among the most outstanding in film history. The use of shadows and light throughout the filming accentuates the story line. The story line is bolstered by the strong characters played by prominent actors

Merle Oberon and company play credible roles in a plot designed to capture the emotions and sentiment of the viewer. The push and pull of the emotions keep building the level of the viewers participation in the film. The acting and directing cause the viewer to live within the film.

Although it is a remake of a movie not as good as this one, and others have used similar story lines and twists since this one, it is the classic story following through on a promise.

Warner Bros. remake of their 1932 drama "One Way Passage" has police detective Pat O'Brien capturing escaped prisoner George Brent in Hong Kong after a year's search, taking him back to San Francisco by ship; once aboard, Brent reconnects with two shady acquaintances who hope to aid in his escape, as well as ailing society girl Merle Oberon, whom Brent met in a bar while sharing a romantic cocktail. Direction, cinematography and cast all interesting, but perfunctory plot--with its impossible bushel of characters--gets stuck in an early rut. Sophistication and humor both give way to teary-eyed melodrama, though Brent and O'Brien are both excellent (as usual) and, visually at least, the film is impressive, due to director of photography Tony Gaudio's solid work. ** from ****

I don't fall in love easily, but Merle Oberon captured my heart. I was struck dumb every moment that she was on the screen. This is a beautifully directed movie with great crowd scenes and luscious close-ups. The plot is unlikely, but the emotions are true to life. Memorable.

On April 20, 1940 "Til We Meet Again" was released. On May 10, 1940 a horde of fanatic, indoctrinated Nazi military was unleashed upon the trust and goodness of the peoples of Belgium, Netherlands ,and France. The France of Lavoisier, Voltaire , and Edith Piaf was soon subdued and overrun. The indomitable Winston Churchill took the reins of Great Britain on that day as Prime Minister. We who stood for the dignity of man, the soverign and inalienable worth of each, stood appalled but resolved.The outcome was in parlous and grave doubt. The drama "Til We Meet Again" entailed the exquisite beauty of Merle Oberon, the courage, valor and innate worth of George Brent, Geraldine Fitgerald, Frank McCUGH-not to be unduly chauvinistically Irish, and expressed the mores of a world long gone but celebrated as our "greatest generation" . We accord hereby a 10 to this work,which harkens and takes us back to a world and time before evil and death.

The story is so contrived it's impossible to take even remotely seriously. Merle Oberon looks pretty and isn't really either good or bad. George Brent, though, is really hard to accept as a convicted murderer. Whom did he murder. Why? Why are we supposed to think a murderer an appropriate romantic dream partner for a sick young woman? I think this is the movie Carol Burnett parodied. In this parody -- one of her funniest -- Vicki Lawrence, playing a doctor, tells the sick girl, "No more vatnot." Pat O'Brien is very touching, on the other hand, as the police officer in charge of Brent on shipboard (which is where most of the movie takes place.) He is tough but he understands about love. Binnie Barnes is as always a delight in a small role, too. That woman was a treasure! Geraldine Firtzgerald is in it. I like her and she is OK in the movie. But her character sort of wanders around. Maybe some scenes were cut: It's never clear what her exact role in the story is.

This is a great 1940's Classic film with great actors like Merle Oberon (Joan Ames),"A Song to Remember",'45, who goes on a cruise ship and meets George Brent,(Don Hardesty), "The Spiral Staircase",'46, and the couple fall deeply in love. These two love birds each have secrets that they are keeping from each other and vow to meet in Mexico City. However, Pat O'Brien,(Police Lt. Steve Burke),"The Fighting 49th",'40 has his eyes on Don Hardesty in order to bring him to Justice!. There are great supporting actors, Frank McHugh,(Rockingham T. Rockingham),"Mighty Joe Young",'49, and George Reeves,(Jimmy Coburn),"Superman",'73 who unfortunately in real life took his own life. If you liked Pat O'Brien, George Brent and the beautiful Merle Oberon, you will not want to miss this film! Enjoy.