Un grande amore

This is a film of two genuine moods. The first half or so is a romantic story in the fine 1930s comedic tradition. The dialogue is witty, the characters charming, and the developing romance a joy to watch. The second half is a drama which is deep and engaging. The dignity with which the characters act through trying circumstances is wonderful, and a marked contrast and relief to the hysterical characters found in contemporary movies. To have two such different moods both handled with such extreme skill in the same movie makes this a rare gem.

The acting is superb; both Dunne and Boyer play with believable subtlety and emotional power. They drew me in so I cared enormously. Maria Ouspenskaya is, as always, superb. Compare her performance here with her blistering performance in her similar-but-opposite role in Dodsworth. The direction is very straightforward in its service to the story, with only the occasional standout moments: look for the superb shots of the couple's first kiss, of the reflected empire state building, and of the double headline. With a story and acting as strong as this, that's exactly as it should be.

I'd always been curious about this original version of the romantic 1957 hit, "An Affair to Remember" which was a bona fide box-office success, made so memorable by the classy pairing of Cary Grant and Deborah Kerr. That CinemaScope remake in Color by DeLuxe, of this black-and-white original, was also co-written and directed by Leo McCarey, a man who wasn't afraid to regularly mix genuine sentiment with some fairly gloppy sentimentality in the same (admittedly tasty) cinematic dish.

I join those who prefer the original, thanks mostly to the restrained and very professional performances of a quite young-looking Charles Boyer and Miss Irene Dunne, who looks quite ravishing throughout (modelling some gowns that are as chic today as the first time this film was shown). And what a set of pearly whites she had... the better to charm the stuffing out of us with that glowing smile!

Anyway, Turner Classic Movies showed it the other evening and I couldn't believe the terrible condition of the print. Scratches, skips, muddiness, sound problems, every possible defect seemed to be in appalling evidence! Apparently the DVD now in circulation is every bit as bad. Hey! Come on guys! This film is considered one of the better ones during a year (1939) when Hollywood studios unleashed a cornucopia of goodies. How about giving us a version worth watching, for heaven's sake!

This timeless classic movie and superior adaptation deals about the known story of a wealthy singles(Charles Boyer,Irenee Dunne) on an Ocean liner . They know themselves and falling spontaneously in love but they're both recently engaged. Boyer and Dunne promise their love on the Empire State Building where agree a meeting months later, to see if their love still holds . But the tragedy takes place and Boyer bounds for Island Madeira.

This magnificent tearjerker is a clever tale plenty of good feeling, love story and unforgettable scenes in which the spectators ever feel drawn into the protagonists lives . The perceptible script is brought to life by a perfectly cast ensemble, as the wonderful Irene Dunne, the attractive Charles Boyer and the veteran Maria Ouspenskaya in a small but touching role; plus interventions very secondaries by Gerald Mohr and Joan Leslie. The usual RKO's musician Roy Webb composes a lush romantic score makes it easy on the ears. Expert cameraman Rudolph Mate creates a superb camera work full of fine detail. The motion picture is stunningly directed by Leo McCarey who directed a good remake, though inferior version, titled ¨Love affair(1957)¨with Gary Grant, Deborah Kerr and Richard Denning . Another and lesser version about this weepie story in contemporary look are the following :¨Sleepless in Seattle(1993)¨ by Nora Ephron with Tom Hanks, Meg Ryan and ¨Love affair(1994)¨ by Glenn Gordon Caron with real life marriage , Warren Beatty and Anette Bening, and Katherine Hepburn.

I can't believe that this film is so forgotten by the film viewing public. This film is one of the better romances of the 1930s but, thanks to a mention of AN AFFAIR TO REMEMBER in the movie SLEEPLESS IN SEATTLE, AN AFFAIR TO REMEMBER is now considered a "classic"--But how can this be...?! After all, LOVE AFFAIR is the original and AN AFFAIR TO REMEMBER is a by-the-numbers and relatively boring remake. Charles Boyer and Irene Dunne are wonderful in this film. And, the direction and writing were excellent. However, doing NEARLY the exact same film two decades later seems pointless. I like Cary Grant and have nothing in particular against Deborah Kerr--but they just aren't as good as the originals.

Do yourself a favor. If you haven't seen either film, watch this one first. And, if you have seen only AN AFFAIR TO REMEMBER, see this film and find out how beautiful and well-made this film is. Also, if you like LOVE AFFAIR, try seeing another great romance, SMILIN' THROUGH (1932). It has a lot in common with LOVE AFFAIR and you can even see that the writers of this later film "borrowed" one of the plot twists from SMILIN' THROUGH.

Directed by Leo McCarey, this 1939 romantic classic is the first and best version of the old warhorse of a fateful shipboard romance between an aimless playboy and a nightclub singer, both engaged but appearing to be destined to reunite on the top floor of the Empire State Building. The elaborate, shot-for-shot 1957 remake again directed by McCarey with Cary Grant and Deborah Kerr is much better known, and Warren Beatty even saw fit to remake it yet again with his wife Annette Bening for a 1994 update featuring an 87-year old Katharine Hepburn in her last film role.

But it all started with this more modest film starring a smart, luminous Irene Dunne as Terry McKay and Charles Boyer all continental charm as Michel Marnet. The story is as contrived as ever, but the script co-written by McCarey, Mildred Cram, Delmer Daves and Donald Ogden Stewart is full of clever dialogue to go with the soap opera elements. It's too bad the print condition is so bad given that it has fallen into the public domain, but you can still get a strong sense of the craftsmanship behind the film, especially Rudolph Maté's soft-focus cinematography.

Even though Maria Ouspenskaya gives her most sympathetic performance as Grandmother Janou (she was wonderfully malevolent in "The Wolf Man"), it's really the chemistry between the two stars which keeps this afloat, especially Dunne who was so dexterous in comedy and drama in her prime that she is far superior to either Kerr or Bening. She even gets to sing two songs most winningly, one a Harold Arlen gem called "Sing My Heart". Even though you are likely to know every scene by heart from the 1957 remake, it's still quite worthwhile to enjoy the antiquated charms of the original.