Amanti senza domani

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!

This is an update of an earlier comment. One Way Passage is likely the most underrated romance picture of all time! The stars--William Powell and Kay Francis--are superb. The supporting players--Aline MacMahon, Frank McHugh, and Warren Hymer--have never been better. The music score is a classic; the story a perfect gem. Francis is dying from a rare malady; Powell is going home to face execution. They meet and fall in love.

From the opening shot at a Far East bar, complete with a marvelous singing trio (Jane Jones is one of the singers), 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, always underrated, has never been more suave. Both deserved Oscar nominations for this great film, as did MacMahon and McHugh for support (not a category for another few years).

Kay Francis did everything during her reign as a top 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. William Powell would hit his stride a few years after this film in The Thin Man. He started out in silent films as a villain (When Knighthood Was in Flower in 1922) but talkies turned him into the epitome of the debonair gent.

Two great stars, but neither Powell nor Francis would ever win an Oscar.

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.

I recently saw this movie on television and loved it. It is a beautiful love story, simply told. Kay Francis and William Powell are the doomed lovers and the Warner Brothers stock company provides excellent support. The contributions here by Aline MacMahon, Frank McHugh and Warren Hymer are especially worth noting. The cinematography shimmers. It's a four hanky tearjerker like they don't make anymore. I agree with the previous post, it's dreamlike perfection and the last scene is one for the books.

In the grim year of 1932, with Warner Bros. losing money like all the major studios except MGM (RKO and Paramount both went into receivership thanks to the Depression), along comes the movie One Way Passage, dealing with what seems are the petty cares of grifters on a Pacific cruise. Only this movie is not a screwball comedy or a story about rich people in tuxedos chitchatting when they are not dancing. Writer Robert Lord's frequent writing partner in 1932 and 1933, Wilson Mizner, specialized in stories about people on the margins of society, peaking with the great Heroes For Sale. In one way or another, most of the characters in One Way Passage are nearing the end of their line. When Frank McHugh's character Skippy drinks alone at a bar in Agua Caliente on New Year's Eve, there is no longer the usual smile on his face as he stares at his drink. The opening credits of the movie put Kay Francis' name above the title, but she is just one of several Warners stock company actors at their peak in this movie, including Warren Hymer as the tough detective who always gets his man.

The year 1939 is described as Hollywood's peak year, when movies like Gone With The Wind and Gunga Din were in release. But judging movies by how they stand the test of time, movies released in 1932 and 1933 stand up better. One Way Passage is proof of that. Warner Bros. may have treated its employees like slaves, working stars and crew until 2:00 AM (with no overtime) to meet the 12 day production time limit the studio imposed on most movies, with a 6 day work week, but look at the results. One Way Passage. Baby Face. Mystery of the Wax Museum. Lady Killer. Joan Blondell described Warners Bros. studio then as a place where things were "really cooking." And now, almost 75 years later, One Way Passage can still hold a viewer's attention with its story of some passengers on a last voyage before everything changes.