Chagrin d'amour

Smilin' Through (1932) : Brief Review -

Two eternal romances explained very well with one of the most tragic scenes of the time. Even though the film is titled Smilin', I believe there was hardly anything to smile at. It was more of a tragic romance for its time, or quite possibly all time. I wasn't aware that one of the biggest conflicts from one of the most popular romances, "Love Affair" (1939)-some people know it because of its remake, "An Affair To Remember" (1957)-was actually taken from this Sidney Franklin flick. Even that goes back in time, as Sidney himself remade his own silent film of 1922. Remember that accident thing from Love Affair? Why Terry couldn't see Michel and had to conceal her disability? Well, that was picked right from here-with a gender switch. Smilin Through has multiple layers to the characters and the love story. If I can say so, it was one of the rare films to have the three leading actors in a double role (Leslie Howard was a single character, but divided into two age groups). The film is about Kathleen, who falls in love with a young soldier, Kenneth, but her uncle, Sir John, forbids her because Kenneth's father killed his soon-to-be bride, Moonyean, on their wedding day. Kathleen still goes on to meet and fall in love with Kenneth before he is sent to War for four years. After his return, Kathleen is devastated by his rude behaviour and mourns her lost love. Now here comes redemption for Uncle John, who has been attempting salvation for years to meet his dead love. The screenplay does a nice trick here, as we see a happy ending and a sad ending coming together and leaving us with mixed feelings. Leslie Howard has played a part that other young fellas might have rejected for pride. He put them all to shame. Norma looks lovely, and Fredric is fine in both roles. Franklin did not have to do much except remove some dated chunks, and he did exactly that. A big triumph for a remake, and what a tragic cobweb of love stories it was for its time.

RATING - 7/10*

By - #samthebestest.

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!

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

Sir John (Leslie Howard) is devastated and disgusted as his niece Kathleen (Norma Shearer), a young woman living with him since her parents died in her infancy, falls in love with Kenneth (Fredric March), the son of the man who, in a jealous rage, killed Sir John's bride to be on their wedding day. As Kenneth is about to join his company at the front in World War I, Kathleen is torn between her filial duty towards her uncle and her love for Kenneth.

Sidney Franklin's film is the quintessential tearjerker, one that I have dreamed of watching all my adult life, and tonight I finally managed. Not many films outlast those sorts of expectations, I found recently that 'Sevent Heaven' was relatively feeble-minded, not the film I had been looking forward to.

'Smilin' Through' triumphs though, soaringly so. The film is not only sumptuous in decor and cinematography, but has a real heart and real intelligence. I loved the way that almost every scene takes place in a garden with burgeoning flora, drooping flowers, heavy with romantic regret and sexual portent. One could almost smell the dizzy perfume of the plants. And I admired the way that Sidney Franklin distinguishes so clearly and yet not demonstratively between the way that young love professes itself in the 1860's, the time of John's and Moonyeen's courtship, and the war years with Kathleen's and Ken's romance. Franklin, in his direction, subtly underlines the tender dewy-eyed romanticism of the old days, "misty, water-colored mem'ries" indeed, with Kathleen perpetually wearing her wedding gown, even in her scenes as a ghost. And in the modern story we have an altogether more practical couple, acting in the context of a world war, with the far-away guns and canons sending rumblings through the village, sending windows and panes rattling. Kathleen in the modern story is more earthy and doesn't, in this pre-Code Hollywood picture, disguise how she is longing for her sexual union with Ken: "By the time I'm through with you, you won't be able to fight anyway", she claims.

The acting is a chapter unto itself. I was never a fan of Leslie Howard's, and although it must be said that his part is probably the least interesting in the film, he conveys an endearing boyishness in the 1860's scenes, easy-going and infectious. Fredric March strikes up a marvelous rapport with Norma Shearer, sending off sparks of a loose energy that seem almost improvised, certainly captivating. Their scenes today should even today serve as must-see footage for acting students. March shows glimpses of the impressive character actor he was to become, and Shearer is luminous and entirely lovable, great performances.

The perfect genre piece, destined to give you the most delicious heartache.

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.