Ne dites jamais adieu

This remake of "this love of ours " starring Merle Oberon inspired by a play by Pirandello was to be directed by Douglas Sirk who provided the movie with the German actress Cornell Borchers ;portions of the movie were directed by Sirk himself.

If you like melodrama with a capital M ,you will like "never say goodbye" ;Jerry Hopper cannot be mentioned in the same breath as Sirk who was the master of the genre in the fifties ; there are similarities with "magnificent obsession" : the accident , Dr Parker assisting the surgeon during the operation ,and his guilt feeling (he caused Wyman' s blindness in "obsession " ,he unfairly accuses his faithful wife of cheating on him ,which causes her daughter's "advanced Elektra complex" .There are roughly three parts ,the second of which is a long flashback ,taking place in Vienna just after WW2.

Sirk could turn exponential tear-jerkers into masterpieces ,Hopper only made an estimable work ;directing is rather flat ,but the screenplay achieves maximum emotion ,the girl is adorable (the final sketch is really a good trick ,thanks to the always reliable George Sanders );an uncredited Clint Eastwood (today my favorite American director) appears as Dr Parker 's lab assistant .

Although Jerry Hopper is the credited director of "Never Say Goodbye", Douglas Sirk oddly goes unrecognized as the co-director. Though Sirk's presence can be felt at times, "Never Say Goodbye" lacks the visual irony and heaving drama of his greatest films. Nonetheless, this is a beautifully-acted, handsomely-crafted affair, with a lush Frank Skinner score and some climactic melodrama thrown in for good measure. Part war romance, part domestic drama, "Never Say Goodbye" is an interesting hybrid that actually works.

Rock Hudson plays a military doctor who falls in love with nightclub pianist, Cornell Borchers. They marry and have a baby and all seems right. That is, until Hudson's seething jealousy wrecks everything that they had established. Tragedy tears the couple apart and Hudson must raise their daughter alone. Years later, fate brings the couple back together and their daughter(played surprisingly well by a young Shelley Fabares)must come to grips with the mother she had never known. The always good George Sanders is sorely underused as the man who blames Hudson for the entire ordeal.

"Never Say Goodbye" has its heavy-handed moments for sure. And you just might roll your eyes at how quickly and cleanly the ending gets wrapped up. But the action gets rolling almost from scene one and it turns out to be a satisfying, if unmemorable, nugget of 1950's soap opera. Uinversal-International continues to churn out the glossy fluff with this one.

Undistinctive but enjoyable tearjerker: American doctor loves/loses/finds Vienna nightclub entertainer. The skillful screenplay mixes motherhood, medicine and the Iron Curtain, plus manages a few provocative digs at American male behavior. Rock Hudson and George Sanders give appealing performances. In the central role, German actress Cornell Borchers looks like Ingrid Bergman but lacks her warmth. A rich supporting cast includes a bit by Clint Eastwood . Old-fashioned, but done with some dignity.

Although widely acknowledged that parts of "Never Say Goodbye" were directed by Douglas Sirk, the credit is given to Jerry Hopper with no mention of Sirk at all. Filmographies of Sirk's work most often do not include this work.

"Never Say Goodbye" has many of the hallmarks of Sirk's work, though is much lacking in the biting social criticism that elevated his finest work. Like "Interlude" this is pure melodrama, filmed with style but ultimately forgettable.

Rock Hudson and George Sanders turn in predictably solid performances but it is Cornell Borchers an Ingrid Bergman Greta Garbo hybrid, who manages to bring a sense of truth to the more than unlikely drama, which is essential for the melodrama's success.

While obviously not in the class of the major Sirk melodrama's there is enough here of interest to followers of his work.

While melodrama has been very variable in film and television history, with a mix of very moving and sometimes tense and also too soapy and over-heated in the case of others. Rock Hudson was always a likeable actor, especially in romantic comedies, and George Sanders has always been a favourite of mine since his voice work in 'The Jungle Book'. Being one of the best at that time at being cads and villains and possessors of one of the most distinctive and beautiful speaking voices in film.

'Never Say Goodbye' was something of an uneven film to me. There are a fair share of good things, including one particularly great performance, but also an equal fair share of shortcomings, including most of the traps melodramas have fallen in a number of times. 'Never Say Goodbye' is a long way from a bad film, there are far worse films out there including this type of film. It is also a long way from great and too much of a mixed bag for me to consider it particularly good.

The best aspects are the production values and the acting. The film still looks very handsome and ravishingly shot in Technicolor, while uncredited Douglas Sirk's contribution is skillful enough. The music is haunting and not too overwrought. Some of the film is poignant, especially the more tragic elements of the story.

Of the performances, Sanders comes off best, have always found it interesting when actors that specialises in a certain type of role go against type and pull it off equally as well as their usual roles. Sanders' character is a far cry from his caddish and villainous roles that he was known for, he has seldom been more sympathetic (even in 'Call Me Madam', another atypical role that he did beautifully) and noble and it comes off beautifully. Cornell Borchers (an unfamiliar name) also comes off beautifully and is very touching. Shelley Fabares is affecting as the daughter. Hudson's performance is uneven, much of it being down to how his character is written, but when his character isn't a jerk he is charming and dashing.

However, there are things that don't come off particularly well. When made to behave like a jerk, Hudson didn't seem comfortable with it and was out of his depth and the character's jealousy doesn't seethe. At times it seemed too melodramatic, at other points it was too reserved. The chemistry between him and Borchers varied as well, it was charming to begin with but loses its sparkle and becomes bland later on (was also rooting for her character to leave him). The direction fares similarly, Sirk's contribution shows how he was one of the few directors to play to Hudson's strengths and understand them whereas Jerry Hopper's direction was undistinguished with little of the hold no barrels approach that the film would have benefitted from.

Furthermore, the script manages to be both over-heated and under-nourished, lots of soap and syrup overdose but no substance underneath. The story becomes too excessively melodramatic and over-heated, as well as lacking in passion and rather dully paced. The characters became a lot less easy to care for and why Borchers' character would find any appeal in him later didn't come over as realistic.

Summarising, very mixed feelings here. 5/10.