L'autre

This film is an old favorite and a crowd pleaser. I saw it recently and the amazing this is that even though 65 years have passed since its release, it still holds one's attention. Thanks to the direction of John Cromwell, this is a timeless classic.

The production of this film must have presented problems to the team involved in it. Films of the era stayed away from taboo themes because of the censorship, but this movie is an exception: an unhappily married man finds happiness with a widowed working mother. It is clear that there's nothing between Alec and Maida, a power couple living a life of luxury in the country.

Enter lovely Julie Eden. She is beautiful, talented, but with no desire to be a part of the country gentry around her. She's a free spirit who falls under the spell of a handsome Alec; who wouldn't? At the same time, Julie realizes this relationship has no future. She leaves the situation going back to Manhattan, trying to forget Alec.

The combination of Carole Lombard, playing Julie, against the Alec of Cary Grant, pays a great dividend. These two actors were meant to play opposite each other; they both bring enough charisma to fill a few other movies. Added to this mixture is the great Kay Francis, as Maida, the society wife who will not let go of her ticket to the life of luxury she is accustomed to.

The rest of the cast is excellent. Additional credit must go to Irene, the costume designer who had an eye for the clothes all the society types wore at the time.

A truly good time at the movies.

The presence of Grant and Lombard drew me to this one on American Movie Classics, though I thought the script might a bit of a handkerchief-wringer. To my surprise the story was thoroughly absorbing and involving, as well as being a great study of the manners and mores of the era. And of course, Cary Grant and Carole Lombard carry the whole thing through with their wonderful performances. Well worth a see.

With all the rubbishy movies available today on DVD, why on earth is a masterpiece like this not available on that medium ? This is one of my all time favourites ( like Random Harvest, Waterloo Bridge, Last holiday etc ). I loved CG in Penny Serenade, but he is even better here. From beginning to end, your're clutching at your heart ! What a shame picture and sound quality are so bad. Can't this be re-mastered and numerized for God's sake. Performances by all involved are magnificent and you can't guess the outcome right up till the end. And of course I loved Charles Coburn (almost as good as in "Heaven can Wait" ). They just can't make films like this any more today even though the actual theme of the film is timeless. This is a must-see for all incurable romantics like myself !!!

Shrewdly acted soaper. Usually these weepies milk over-emoting but not here. Grant, Lombard and Francis under-play despite strong feelings, thereby highlighting character rather than emotion. That opening scene at the river is delightful, a great hook. The remainder, however, switches to understated drama. Seems Grant's trapped in a loveless marriage that his influential but misled parents embrace. But when he meets the winsome Lombard, he's smitten. He'd like to divorce the icy Francis and marry Lombard, but remains torn until the conniving wife becomes impossible. However, now Lombard's too wary of his complications to follow through, and wants to take a job in faraway Paris. So what will happen, as if you didn't know.

Kay Francis as the ice-queen wife is truly unsettling. With an unblinking stare, a majestic bearing, and a regal wardrobe, she's almost scary. In fact, it's sort of hard seeing how Grant could have fallen for her, except for her deadpan good looks. Note that the star-crossed Lombard remains deglamorized throughout much of the movie. So her rivalry with Francis dwells on personality instead of glamour. That's a tribute, I think, to her ego as an actress. However, except for the river opening and bar scene, Grant's celebrated comedic touch is mostly secondary to his romantic quandary. Still, his innate charm shines through. Anyhow, I didn't recognize Helen Vinson, who plays the cruel Suzanne, but I sure do now. And finally, catch little Peggy Ann Garner as the tyke—given more screen time, she could have stolen the show.

Except for the car crash, there's no action to speak of. Still, the talk moves along smoothly enough, without dawdling. Fortunately, fans of the three principal players should find plenty to enjoy, which all in all, amounts to a bigger draw than the rather patchy storyline.

Take an interesting story about two more or less doomed lovers, add a much-deserved happy-ending and cast all three leads against type. Than hand it over to a competent director, spend some money for plush production values, demand some snappy lines, hire a top-notch supporting cast and take care of a lush camera work. What do you get? One of the great love stories of all time.

The main reason is the cast!

Carole Lombard, beautiful and radiant, is much more subdued than usual.

Cary Grant, still on his way up to the echelon of stardom. 'Suave' aptly describes his performance.

And, best of all, Kay Francis. After being cast in a slew of low-budget programmers (WB even billed her below the title in 'Women in the Wind') her old pal Lombard (always the generous one) helped her out of oblivion with this once-in-a-lifetime role. Francis is cast a domestic monster but she underplays admirably and her scenes with Lombard sparkle.

The pic holds up very, very well. But be warned: tissued will be needed by the boxful at each viewing.