Amanti senza domani

The more I see of William Powell, the more impressed I am with him. Because he did a lot of light parts and is mostly known these days for the Thin Man movies, his reputation has suffered. He is a remarkably subtle actor, more so than many others in the early 30's, a transitional period as talkies wiped out silents and acting styles were in flux. His Thin Man movies, though fun, don't do him justice. I think his best acting is in earlier films like this one and MANHATTAN MELODRAMA.

William Powell plays a captured crook heading for execution at San Quentin. Kay Francis is a dying woman he meets in a bar in Hong Kong; they wind up together on a ship for San Francisco. The plot centers around their shipboard romance and how they try to keep their respective "terminal" conditions secret from each other. For a 1932 movie, it's quite modern in feel--lots of nice (but not grandiose) stylistic touches, like some sweeping camera movements, especially the ones along a bar that open and close the movie. Considering there is only one plotline, the supporting cast really gets a chance to shine; Aline McMahon plays somewhat against type as a con artist traveling as a duchess, and Frank McHugh is another crook who pulls con jobs while acting perpetually drunk. They team up to help Powell outsmart the cop who has him under lock and key (Warren Hymer). The character of the cop is interesting--he eventually is seen in a fairly favorable light, despite his antagonism toward Powell. I'm not a big Kay Francis fan, but she's adequate here.

What's wrong with this film?.......nothing. It has all the ingredients that make this type of film so wonderful......actors, set design, pathos, romance and it's pre-code to boot.

William Powell, one of my favorites, is paired with the soigne Kay Francis. They are two doomed lovers, each ignorant of the other's "condition". Powell is headed for the hangman and Francis has some unidentified terminal illness(which apparently doesn't affect her looks). Francis who could wear a burlap bag and look glamorous is lovely here and Powell is at his suave best. Along for the ride are Warren Hymer as the cop taking Powell to his fate, Aline McMahon as the con who is conning Hymer, and Frank McHugh as the dipsy crook. All are in fine form.

What ensues on shipboard is romance at its weepiest......a love that is fated to end when the ship docks. But the promise is made to meet on New Year's Eve in Mexico, thus leading to that ending that causes the audience to bring out the hankies.

Often movies made in the early 30s are a bit corny but not so here. The film seems rather modern and the dialogue, although there are a lot of "darlings and dearests" is fairly contemporary. If you don't like weepers, better pass on this one....BUT if you are a sucker for a tragic love story with an almost ethereal feel to it, this is the one for you. Be sure to bring the Kleenex.

Kay Francis and William Powell are doomed lovers in "One Way Passage," a 1932 film also starring Frank McHugh, Aline McMahan and Warren Hymer.

Right after meeting the lovely Joan Ames in a bar, escaped murderer Dan Hardesty is caught by Sgt. Steve Burke and brought back to San Francisco via ship to be hanged. Ames is also on board ship; she's dying of an incurable illness (probably some form of heart disease they couldn't do anything about in 1932).

Knowing the sergeant can't swim, Hardesty, handcuffed to him, jumps overboard and, while trying to drown Burke, steals the handcuff key and frees himself. When Burke yells for help, it draws attention from passengers, and Hardesty has no choice but to save him.

To thank him for saving his life, Burke lets Hardesty walk around the ship with no handcuffs. Thus, when he and Joan meet again, she has no idea he's headed for a death sentence, and he doesn't know about her.

I saw Carol Burnett do a send-up of either this or the remake - just think if Burnett were on TV today, no one would have any idea what she was doing. How times have changed.

This is a beautiful film with wonderful performances, not only from Powell and Francis, but from Frank McHugh, Aline McMahon, and Warren Hymer. McHugh is a petty crook who runs into McMahon, another crook who is posing as a countess. She catches the eye of Sgt. Burke. It's a great subplot with some fun moments.

Powell is gallant, melancholy, and charming, and Francis is glamorous and lovely; both give very touching and sweet performances, each knowing he/she isn't going to live.

Each time they drink together, they break their glasses and cross the stems, and this crossing is something the camera focuses on as they sit in a cove in Hawaii and toss away their cigarettes. The ending is one of the best ever and will make the viewer smile and cry at the same time.

It's 1932, so some of the sound seems to have been done in an echo chamber, but that shouldn't bother anyone. "One Way Passage" is a treasure of a film.

A dying woman and a condemned man fall in love on an ocean liner; how's that for high concept, circa 1932. No, I'm not giving anything away about this tightly plotted, exquisitely produced melodrama. Upper class sophistication, personified by ever-glamorous Kay Francis and gentleman crook William Powell, characterizes the tragic aspect of the story, while ethic warmth and humor, in the classic Warner Bros. style, are perfectly supplied by Aline MacMahon, Warren Hymer, and Frank McHugh. Lots of marvelous small touches, not the least being the way McHugh plays the final scene. If it's on, don't miss it.

This is likely the most underrated great romance picture of all time! The stars--William Powell and Kay Francis--are superb. The supporting players--Aline MacMahon, Franck McHugh, and Pat O'Brien--have never been better. The music score is a classic; the story a perfect gem. From the opening shot at a Far East bar, complete with a marvelous singing trio, to the final, heartbreaking moment, this film is the perfect 1930s concoction of great stars and a ridiculously silly plot made totally believable and palatable. Kay Francis was one of the top stars of the decade, and this is one of her best films; William Powell, also underrated, has never been more suave. Both deserved Oscar nominations for this great fiolm, as did MacMahon and McHugh for support (not a category for another few years). Kay Francis did everything during her reign as a top Warners star. It's amazing how she was able to go from fragile heroine to hard-edged woman and then throw in a comedy. A truly versatile and wonderful star rescued by TCM from obscurity. Sadly, neither Powell nor Francis would ever win an Oscar----Julia Roberts indeed!